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COLUMBIA UNIVERSITY STUDIES IN ENGLISH
THE RISE OF THE NOVEL OF
MANNERS
COLUMBIA
UNIVERSITY PRESS
SALES AGENTS
NEW YORK :
LEMCKE & BUECHNER
30-32 West 27TH Street
LONDON :
HENRY FROWDE
Amen Corner, E.C.
TORONTO :
HENRY FROWDE
25 Richmond Street, W.
THE RISE OF THE NOVEL OF
MANNERS
A STUDY OF ENGLISH PROSE FICTION
BETWEEN 1600 AND 1740
BY
CHARLOTTE E. MORGAN, Ph.D.
'^n
a
IWIVEESnj
; PBESS
THE COLUMBIA UNIVERSITY PRESS
1911
All rights reserved
Copyright, 191 1
By The Columbia University Press
Printed from type July, 2911
Press of
The new Era printing Compamt
lancaster, pa.
This Monograph has been approved by the Department of Eng-
lish in Columbia University as a contribution to knowledge worthy
of publication.
A. H. THORNDIKE,
Secretary.
TABLE OF CONTENTS
Introduction i
Chapter I
Romance and Anti-Romance 3
General vogue of romances. Chivalric — Classical — Arcadian —
Euphuistic — Allegorical and Political — Heroic — Miscellaneous.
Types of Anti-romances. Comic — Picaresque — Narrative-Satires.
Chapter II
The Novel (1600-1700) 50
Definition — Novels of the Cloak and Sword — Historical Novels —
Feigned Histories, Pseudo-Memoirs, etc. — Novels of Contemporary
Life — The Portuguese Letters — Mrs. Behn — Mrs. Manley.
Chapter III
The Novel ( 1700-1740) 89
The Transition in Taste and Ideals of Conduct. The Social Treat-
ises. The Duchess of Newcastle, Mrs. Rowe — Other Contributory
Forms : The " Character," the Dialogue, the Periodical. — The Do-
mestic History : Mrs, Haywood, Mrs. Barker, Mrs. Aubin, Occa-
sional and Anonymous Pieces — The Oriental Tale and Didactic
Story.
Chapter IV
The Popular Fiction 115
General Survey — John Bunyan — Daniel Defoe.
Conclusion
Conclusion 136
Appendix A
Summary of Parthenissa 138
Appendix B
Bibliography 143
I. Works of General Reference.
vii
vm
2. Works of Special Reference.
3. Sources of Bibliographical Information.
4. A list of Prose Narratives first printed in English
between 1600 and 1740.
5. A list of the most important Reprints.
6. A List of Collections.
7. An Alphabetical List of the More Important English
Writers between 1600 and 1740.
Index 247
PREFACE
In the following dissertation two objects have been kept in
view ; first, the presentation of a succinct account of the more
important types of prose narrative current between 1600 and
1740 with special reference to the novel of manners ; and
second, the facilitation of further studies by supplying full bib-
liographical details. To accomplish this two-fold purpose only
the more typical and influential works have been considered
in the essay, but to compensate for the consequent omissions,
the minor works, together with discussions concerning author-
ship, translation, sources, chronology, and the like, have been
briefly dealt with in the footnotes and in the bibliography.
To make the latter of the greatest practical value I have
endeavoured to cite my authority for every title, and as far as
possible have added the British Museum shelf number.
Neither the essay nor the bibliography makes any pretence to
completeness. This study is, so to speak, but a clearing of the
ground in a field where little has been done and much remains
to be accomplished.
My indebtedness to previous studies, such as the general
works of Dunlop, Cross, and Raleigh, and to the numerous
monographs devoted to special periods and topics are indicated
in the notes and bibliography. To Professor Joel E. Spingarn,
of Columbia University, I am indebted for information bear-
ing on the French development and for numerous valuable
suggestions. My thanks are also due to Professor John W.
Cunliffe, of the University of Wisconsin, for his kindness in
procuring me reading privileges in the Bodleian Library; to
Professor Ashley H. Thorndike and Professor William W.
Lawrence, of Columbia University, for helpful criticism, and
most of all to Professor WiUiam P. Trent, of Columbia Uni-
versity, under whose kindly guidance this study has been made.
I desire, also, to express my thanks to my mother, without
whose constant encouragement and counsel this book would
never have been written.
THE BEGINNINGS OF THE NOVEL OF MAN-
NERS IN ENGLAND
INTRODUCTORY
The English prose fiction of the century and a half between
the publication of the Euphues and the Arcadia and the ap-
pearance of Richardson's Pamela, exclusive of those three
masterpieces Pilgrim's Progress, Robinson Crusoe, and Gulli-
ver's Travels, possesses scant literary merit and slight general
interest. To the student, however, the narratives from 1600
to 1740 are not devoid of value, since the transition in con-
tent, structure, and style from the courtly romances and
cynical rogue stories to the idealistic novel of manners was
largely effected through the numerous translations and imi-
tations of works of foreign fiction. Together with the
conduct-book, the drama, and the periodical, these gradually
moulded the taste of that fiction-reading public, which, by its
enthusiastic reception of the Richardsonian stories gave such
a stimulus to the rapid development of the novel of manners.
A chronological list of about five hundred prose narratives
printed between 1600 and 1740, compiled from the Stationers'
Register, the British Museum Catalogue, and other sources
will be found in the bibliography. For purposes of discussion,
however, the chronological method proved so cumbersome
in dealing with the large number of occasional and anony-
mous works, many of which are reprints of Elizabethan pro-
ductions and the majority translations or close imitations of
French and Spanish narratives, that it seemed wiser to discuss
in the text, only significant and prominent examples of several
loosely defined groups, and to comment in the bibliography
very briefly upon the remainder.
Before we proceed to any classification, a distinction must
be drawn between literary and popular fiction. The former
was written for a limited aristocratic public by authors con-
sciously conforming to recognized canons, in order to attain
2 1
certain artistic ends. The latter, i. e. popular fiction, was
written, regardless of rules, to catch the fancy of readers at
large. In the seventeenth century, between these two groups
of fiction, the aristocratic and the plebeian, there was little
interrelation. From 1625 or earlier, to about 1700, the literary
fiction consisted almost exclusively of translations and imita-
tions of the continental narratives which were in vogue at the
Stuart courts. The popular fiction of the same period con-
sisted to a very large extent of redactions of the Elizabethan
romances and of journalistic narratives imbued with the polit-
ical and religious temper of the time. Out of the latter grew
Pilgrim's Progress and The Life and Death of Mr. Badman.
Toward the very close of the century, after the expulsion of
the Stuarts and their more or less French court, a change took
place in the nature of the reading public: — the limited aris-
tocracy on the one hand, and the plebeian readers on the
other, combined to form one general public possessing many
interests and a wide range of taste. This most significant
change was brought about by two forces, the breaking down
of the patronage system, with the consequent dependence of
authors upon the public, and the coincident rise of the commer-
cial class. The influence of the stolid, practical, self-satisfied
merchants and manufacturers is shown by the practical moral-
ity, the choice of commonplace themes, and the emphasis on
prosaic details. All of these features are prominent in the
narratives of Defoe, of Richardson, and, though to a less
extent, of Swift. To Richardson, however, belongs the honor
of fusing the narrative tradition, as it was handed down
through the romances, with that which came through the
popular fiction.
Of the literary fiction there are three prominent types:
the romances, the anti-romances, and the novels or brief tales.
The popular fiction, generally speaking, had no literary merit;
and, as it had no other aim than immediate success, it rarely
possessed more than ephemeral interest, so that on the whole
it may be regarded as a negligible factor. The writer has,
therefore, considered only those popular productions which
in a measure paved the way for Bunyan and Defoe, or contrib-
uted directly to the development of the novel of manners.
CHAPTER I
THE ROMANCES
The romances of the seventeenth century have long since
fallen into oblivion; yet they were read with avidity not
merely at the time of their publication, but for a century there-
after. Works so enjoyed by successive generations could not
fail to exert a deep influence on both writers and readers of
the Richardsonian period. In thus speaking of the " seven-
teenth century romances," we must not infer that the two hun-
dred and more narratives which are grouped under this head
are all cut after one pattern. There are, in addition to the
anti-romances and miscellaneous works, at least seven well de-
fined types of romance : the chivalric, the Arcadian, the Euphu-
istic, the classical, the political, the allegorical, and the heroic.
Unfortunately, so few English romances were produced during
this period, and these few were such servile imitations of the
continental models, that the evolution of the form can be traced
only in a general way.
The Chivalric Romances
If we turn to the chivalric romances of the Stuart period
expecting some such charming versions of the old Arthurian
and Carolingian materials as those of Malory and Lord Ber-
ners, a bitter disappointment awaits us. Arthur and the Round
Table, Launcelot and Guinivere, Tristram and Iseult, together
with Charlemagne and his paladins were no longer favorite
themes. During the hundred and forty years from 1600 to
1740, Arthurian romances seem to have appeared only three
times, in 1625,1 1634, and 1700; the Morte Darthur after the
* The most ancient and famous History of the renowned Prince Arthur,
King of Britain. Newly Refined, 162s. Reprinted 1634. From this was
probably made the chapbook Great Britain's Glory, being the History of King
Arthur [1700?]. These may have been revisions of Lord Berners' King
3
edition of 1634^ was not reprinted until 1817, and the History
of the most noble . . . knight, Arthur of Lytell Brytaine by
Lord Berners was not reprinted, at least in its original form,
until 1812. The only fresh endeavor to deal, in narrative
form, with the Arthurian materiaP is to be found in the little
known epics* of Sir Richard Blackmore. Less aristocratic
heroes, such as Guy of Warwick, Bevis of Hampton, and their
like, were not so completely eclipsed in popular esteem by
heroes of more recent date. Even after the Restoration such
hack writers as Nathaniel Crouch,** and Francis Kirkman
re-worked the old material, added new wonders and heightened
the extravagant style, producing degenerate versions of Huon
of Bordeaux, Paris and Vienne, Valentine and Orson, and
the other good old stories, or concocting new ones such as
Tom of Lincoln,^ and The Seven Champions of Christen-
dom. The crude language, wretched print, and general inferi-
ority of the editions justify us in dismissing them as chap-
books. In passing, it is interesting to note that though rough
Arthur, but there is no record of an edition of this work in the seventeenth
century. His Huon of Bordeaux was reprinted in 1601, and was probably
the basis of the seventeenth century chapbooks dealing with that hero.
Utterson edited Berners's romances in 1812. Cf. the article on " John
Bourchier " by Sidney Lee in the D. N, B.
' A reprint of the edition of Wynkin de Worde by Stansby.
' There were, however, plays drawn from the Arthurian material, as for
example, Dryden's King Arthur, or the British Worthy, 1691.
* Prince Arthur in 1695 and King Arthur in 1697.
*• He took the pseudonym of Burton, but whether Richard or Robert is un-
certain, and flourished between 1632? and 1725?. He was a most prolific
writer, forty-five items being attributed to him in the D. N. B. These
include religious pieces, such as Two Journies to Jerusalem, accounts of
explorations, such as The English Acquisitions in Guinea and the East
Indies (based on Godwin's Man in the Moon), and popular histories, suck
as Jane Shore and the romances. Dunton wrote of him, " I think I have
given you the very soul of his character when I have told you that his'
talent lies at collection. He has melted down the best of our English'
histories into twelvepenny books which are filled with wonders, rarities,
and curiosities." See the article on " Burton (Richard or Robert)" by
W. E. A. Axon in the D. N. B.
° The title page of this work gives an excellent idea of the later chivalric
romances. Cf. Bibliography, under 1605.
in style and devoid of literary merit, they usually possess the
virtues of clarity and brevity, so conspicuously absent in more
literary productions.
The chivalric romances which really concern us are the
Spanish cycles of Amadis, Palmeryn, and Belianis, which
made their way into England by way of France late in the
sixteenth century. ^^ The first. The most excellent and plaisante
Booke, intituled Treasurie of Amadis of Gaule was entered
for Henry Bynnerman in 1567, and under slightly varying
titles, appeared again in 1596, 1619, 1664, and 1694, in addition
to several metrical versions. Amadis was perhaps the most
popular of the Spanish romances, but many others were
in high favor. Palmeryn d'Olivia translated by Munday in
1586, was reprinted in 1615 and again in 1669; Palmeryn of
England, another of Munday's translations, appeared in 1587,
and was reprinted four times during the ensuing century;®
Don Belianis, or the Honour of Chivalry first appeared in
1598 and had run through at least nine editions by 1700. In
general plan, these romances resemble the older ones ; the story
is the career of the ideal hero from the cradle to the grave —
his feats in war, his prowess against the powers of darkness,
and his adventures in love. They differ from the Arthurian
and Carolingian cycles in having a more complicated plot, a
more sophisticated hero, an elaborate code of etiquette, and
a larger element of the supernatural and of the sentimental.
The method of narration is simple and direct, that is to say,
epic; there is not, as in the classical romances, an attempt to
"account for the story" by means of a framework.
The English made a few feeble attempts^ to write similar
°° Interesting in this connection, is a note in Appleton's edition of Don
Quixote, according to which, " it was a common device for authors of such
romances to claim that their books were translated from the English.'' P.
26 n. on Historia del famoso caballero Tirante el Blanco (1460).
"In 1616, 1638-39, 1664, 1690.
' Such seem to be The most Famous and Delightful History of the Greene
Knight and the most Beautiful Princess Beroshia and the Heroical Adven-
ture of the Knight of the Sea, the latter of which is described as " ludicrously
overdone " by J. P. Collier, Bihl. and Crit. Account of the Rarest Books
in the Eng. Lang., ii. 217-
romances, but the only native works to acquire any fame are
three narratives* by Emanuel Ford. M. Jusserand® classes
Ford as a follower of Sidney, and the use of such devices as
infant exposure, shipwrecks, slavery, oracles, and pastoral set-
ting indicate a superficial familiarity with the Arcadia and the
Greek romances, but on the whole, The History of Orriatus and
Artesia, the History of Parismus, the Renowned Prirt,ce of
Bohemia and the History of Montelion, Knight of the Oracle
are a combination of the early sentimental stories and the
chivalric romances. The number of editions is a striking proof
of their popularity. Orwa^Mj, published in 1598, reached its sev-
enth edition in 1683 ; Parismus also printed in 1598, reached its
thirteenth edition in 1649, its twenty-fourth in 1699, and went
through numerous cheap editions in the eighteenth century.
Montelion seems to have made its first appearance in 1633,
yet it reached its seventeenth edition in 1724, and served to
give added point to a satire^" which appeared about the middle
of the seventeenth century.
Assuming the name of " Montelion, Knight of the Oracle,"
an anonymous royalist^"* sent forth a delightful burlesque com-
bined with a clever religious and political satire. The oppor-
tunity to satirize contemporary affairs was afforded by the
"life" of Don Juan Lamberto, "beginning with his birth,
education and valiant deeds and carrying him through the Civil
War, including his defeat of the forty tyrants and his jesting
with the Baron of Sussex." Part two narrates " How Crom-
' The most pleasant History of Ornatus and Artesia, 1S98. Of the famous
and pleasant Historie of Parismus, Prince of Bohemia, 1598. The Famous
History of Montelion, Knight of the Oracle, 1633.
'Jusserand, The English Novel in the Time of Shakspeare, pp. 192-198.
Full titles of the books referred to in the text, together with the place and
date of publication, will be found in the bibliography.
'^ Don Juan Lamberto; or, a Comical History of the Late Times. The
First Part. By Montelion, Knight of the Oracle. The Second Part, 1661.
The B. M. copy contains both parts. There is a note in it suggesting
that Part I. was originally published c. 163 7 and that it was re-issued with
the second part in 1661.
"' This work is sometimes attributed to John Phillips, who certainly
wrote Montelion, 1660; or the Prophetical Almanack, but Sidney Lee in
the D. N. B. assigns it to Thomas Flatman.
well, Soldan of Britain dyed, and what befel his son the Meek
Knight. The Birth of Sir Harry Vane, Knight of the Most
Mystical Allegories and how he was honoured by the Priests
of the Temple of Blind Zeal " and disgracefully overthrown at
the Restoration.
This is, indeed, a most summary account of the chivalric
romances, but it is hoped that from it the reader will have
gathered some idea of the salient features of this influential
type of fiction. The numerous allusions in plays, essays,
poetry, and fiction show that for two centuries at least, the
names of Palmeryn and Amadis, of Parismus and Montelion,
were as familiar and suggestive as Don Quixote and Robinson
Crusoe are to-day. Moreover, it is largely to these romances
that the early novel is indebted for its conception of the nar-
rative as the direct chronicle of "the whole life and principal
adventures " of the hero.
The Classical Romances
The classical romances, as the term was understood in the
seventeenth century ,^^ signified not only Greek and Roman
prose fiction, but also poetical narratives like those of Ovid,
and books of travel, natural science and history, such
as those of Herodotus, Pliny, Ctesias, and Plutarch. The
poetry, travels and history may at once be eliminated, for
though they contributed much material and many devices, they
are not in the main line of development. The fiction, proper,
speaking very generally, comprised short tales of the Milesian
order, Barlaam atid Josaphat, Apollonius of Tyre, two real-
istic and satirical narratives written during the Roman Empire,
and the erotic Greek romances.!^
The original collections of Milesian and similar tales have
been lost but many individual stories have survived.^^ They
were short tales of intrigue, usually immoral, often indecent,
" Ci. P. D. Huet, De L'Origine des Romans, Lettre a M. Segrais, in
Huetiana (Ana, vol. vii.).
"J. C. Dunlop, History of Prose Fiction, ed. Wilson, i. i-iis, ii. 246 sq.
" In summaries of Parthinius and Photius for example. See Rohde, Der
Griechische Roman, p. 114.
8
more or less satirical, and generally clever. Incorporated in
various forms in the literatures of Greece and Rome, they were
familiar to the scholars of the Middle Ages, and are thought
to be the source, though perhaps not directly, of many of the
fabliaux of the Oriental type. During the Renaissance, they
were revised by writers of novelle such as Boccaccio, Bandello,
and Sacchetti, and thus were made familiar in Elizabethan
England. With the new century, the taste for the romantic,
the aristocratic, and the refined predominated, and these short
stories gave way before the long romance. The Restoration
brought the realistic tale into favor again, and we find the old
Greek stories with their Italian modifications filling collections
such as The Delightful Novels (1686), and A Banquet for
Gentlemen and Ladies (1703). They never, however, regained
their old prestige, for the new realistic story, imported directly
from France, was not merely a hard and fast intrigue, but a
careful study from contemporary life.
BarlaoMi and JosaphM^* and Apollonius of Tyre had long
been familiar to readers, but so far as the narrative is con-
cerned, are of little importance in the seventeenth century.
The former, during the period with which we are concerned,
was reprinted only in cheap and abbreviated editions.^' Dun-
lop remarks that " it was undoubtedly the model of that species
of spiritual fiction so prevalent in France during the sixteenth
and seventeenth centuries"; but so far as the writer knows,
there are no English works modelled upon it. Biographical
accounts of saints were not much in demand in Protestant
England ; in fact, a rather tame version of the life of St. Theo-
dora^^ (1687), by Robert Boyle, seems to be the solitary
example. The Apollonius was extremely popular in the
" The original, written in the eighth century, by John of Damascene is a
Christianized version of an Oriental story. Among its many interspersed
episodes is the casket story used by Shakspere ; cf . Dunlop, i. 76.
"In 1669, it was reprinted and bound with a. moralized version of Pan-
dosto, and in 171 1 printed as The History of the five wise philosophers ; or,
the wonderful relation of the life of Jehosophat, the hermit son of Averarian,
etc.
^' The Martyrdom of Theodora and Didymous. By a Person of Honour
(Robert Boyle),
Middle Ages and to some extent in the Renaissance, but after
that, it was seldom printed. It appeared in an Anglo-Saxon
fragment, in the Gesta Romanorum, in the Confesso Amantis
of Gower, in a reprint by Wynkin de Worde, in Twyne's
Patterne of PainefuU Adventures (1576), and finally was
dramatized by Shakespere in Pericles.
The two examples of Latin fiction are the Golden Ass of
Lucius Apuleius and the fragments of the Satyricon of
Petronius Arbiter. The former, based on an earlier Greek
work, relates in satirical vein the supposed adventures of its
author when metamorphosed into an ass. It was very popular
in England, if the number of editions is any criterion. The
first translation by William Adlington appeared in 1566, and
was re-printed in 1571, 1581, 1596, 1600, and 1639. The epi-
sode of Cupid and Psyche was particularly admired and often
utilized for plays and poems. ^' As a whole, or as a prose nar-
rative. The Ass was not imitated until the end of the century,
when it furnished a model for travels of inanimate objects,
and encouraged the use of fictitious travels for satirical pur-
poses. The work of Petronius,^* which purports to be a
satirical account of the corrupt life at the court of Nero, was
less generally known, partly on account of its fragmentary
form and partly because of its scandalous character. There
seems to be no English translation before 1663. That was
reprinted in 1677 and 1743. A version by Thomas Brown
of Shropshire came out in 1708, and a few years later, in 1736,
still another translation was made by John Addison. The
direct influence of Petronius is seen in the elegant neo-classic
satires with which pedants of the Renaissance amused them-
selves, as for example, the now forgotten Misoponeri Satyri-
" Gosson, writing in 1579, condemns such a piece " lately played at Paules";
Hazlitt mentions a poem, Cupid's Courtship j and Shakerley Marmion pro-
duced, in 1637, a Morall Poem intituled the Legend of Cupid and Psyche ;
cf. Dunlop, i. 113, n.
^ Petronius; a Study in Ancient Realism, by F. F. Abbott, Sewanee Review,
1899, vii. 43S-43.
H. T. Peck, Trimalchio's Dinner from the Satyricon of Petronius.
10
cow/" the Comus'"' of Puteanus and the Pantaleonis Vaticinia^^
of James Hume. Precisely what relation the Satyricon hears
to later fiction is exceedingly difficult to determine. In its
biographical structure, interspersion of stories, and realism of
presentation, it resembles the picaresque narratives, and no
doubt the writers borrowed episodes and devices, but I suspect
that their indebtedness does not extend beyond matters of de-
tail. Likewise, the indebtedness of the popular court memoirs
and similar narratives to the Satyricon is still a matter for conjec-
ture, but it is doubtful if it was greater than the supplying
of a vague classical sanction to the shameless accounts of
court scandal.
All the classical fiction we have so far considered was quite
overshadowed by the Greek erotic tales^^ to which the seven-
^' Misoponeri Satyricon cum notis aliquot ad obscuriora prosae loca, et
Graecorum interpretatione. Lugduni Batavorum, 1617.
'^ Eryci Puteani Comus sive Phagesiposia Cimmeria. Somnium; Lovanii,
1608, 1611. Reprinted at Oxford, 1634. This work furnished Milton with
a hint for his masque. Cf. Immanuel Schmidt, Milton's jugendjahre und
jugendwerke, Sammlung gemeinverstandlicher . . . Vortrdge, new series,
V, xi, no. 243. Hamburg, 1896.
'^Pantaleonis Vaticinia, Satyra, Jacobo Humio, Rathomagi, 1633. For an
account of these books, see Begley's edition of Nova Solyma, ii., pp.
385-87.
^ For a discussion of these works see : E. Rohde, Der Griechische Roman
und seine Vorldufer, C. J. Goodwin, Romance Writing among the Greeks.
Sewanee Review, 1897, v. 290 ff., 409 ff., M. Oeftering, Heliodor und
seine Bedeutung fiir die Litteratur, F. M. Warren, History of the Novel
prior to the Seventeenth Century, and P. D. Huet, De L'Origine des Ro-
mans, Huetiana (Ana., Vol. VIII.).
Scholars still disagree as to the precise dates, sequence and origin of these
romances, but the majority agree with Rohde that they were written in con-
siderable numbers by the Sophists of the third and fourth centuries A. D.,
and were a natural evolution from the erotic stories of the Greek poets, the
ethnographic Utopias, pseudo-histories, travels, fables, and Milesian tales.
The principal romances are : Of the Incredible Things in Thule, or, Dinias
and Dercyllis, by Diogenes ; the Babylonica, by lamblichus ; the Ethiopian
History of Theagenes and Chariclea, by Heliodorus ; Leucippe and Clitophon,
by Achilles Tatius ; Daphnis and Chloe, by Longus ; Habrocomas and Anthia,
by Xenophon of Ephesus ; and Hysmene and Hysmenias, by Eustathius or
Eumathius. The last is much later than the others, not having been written
until the twelfth century. Heliodorus, Tatius, and Longus are translated
by R. Smith in the Bohn Library. All references are to this translation
in the edition of 1906.
11
teenth century romances are largely indebted. Comparatively
few of the Greek narratives have come down to us in their
entirety, but there are fragments of others embodied in the
summaries of Photius and Suidas. Practically all with which
we are familiar to-day were current in the seventeentji cen-
tury, for they are mentioned by Bishop Huet. Only three.
The Ethiopian History of Heliodorus,^^ the Leucippe and
Clitophon^^ of Achilles Tatius, and the Daphnis and Chloe of
Longus were translated into English, but as French and Latin
were familiar to the educated there is no reason to suppose the
remaining romances were not almost as well known. The
Daphnis and Chloe^^ is unique in being a simple pastoral, quite
free from the absurd adventures and marvels of the Helio-
dorian romances. It is the most artistically perfect, yet, al-
though several times translated and frequently alluded to, it
failed to stimulate imitation until the time of Rousseau, when
the taste for exotic naturalism gave it a tremendous vogue.^'
The famous Ethiopian History by Heliodorus, of which
Bishop Huet wrote so enthusiastically, served as the pattern
for the other Greek romances. The general theme is aptly
described by Rohde,^^ "a couple of lovers fly before their
pursuers from land to land, amid a gloomy alternation of mis-
fortune, imminent ruin is averted at the last moment, and
virtue obtains its triumph and reward in plenary happiness."
The setting is sometimes an indefinite historical era, but there
is no attempt to depict historical personages, to describe accu-
rately old customs, or to reproduce the atmosphere of a past
age. The characters — and this is true of all the romances —
are for the most part uninteresting puppets, submissively
^ The date of the original translation by Underdowne is uncertain. It was
entered on the S. R. for Coldock in 1569, but the earliest dated edition is
that of 1587. The undated copy in the Bodleian is presumably older.
^Hazlitt mentions an edition of 1598, but the better known translation is
that by James Hodges in 1638.
'''Translated in 1598 by Angell Day and again, in 1657, as "a sweet pas-
toral for young ladies."
^ Cf. W. W. Gregg, Pastoral Poetry and Pastoral Drama, p. 12.
"Quoted by Dunlop, i. 15. His reference is to the German edition of
Rohde, p. 378.
12
enduring all the whims of fate. The heroine^' alone seems to
have any initiative and our interest in her is aroused more by
the unusual phenomenon of feminine leadership than by the
charm or strength of her personality. The attention centers
around the series of episodes and scenes through which the
characters pass. In the sequence of these episodes no effort
is made to develop a central theme. The only attempt to give
even the semblance of unity consists in having the final result
work out the fulfillment of an oracle, and in having dreams and
visions prepare the way for lesser episodes. The desire is to
accomplish the result in a manner most surprising to the reader.
Surprise and suspense are two of the most striking qualities
of the Greek romances, and writers and critics of the seven-
teenth century insisted upon them as indispensable in a good
romance.
The structure, awkward enough in any case, was further ham-
pered, either by putting the story in the mouth of a third person
who figures in a sub-plot, or by letting the hero describe his
own adventures after they have taken place. Thus the point
of view is that of an onlooker rather than that of a participant,
or in other words, is indirect, passive, and reflective, instead of
being, as in the chivalric romances, direct and active. This
reflective point of view characterizes not only all the seven-
teenth century romances but also the novels of Richardson
and the narratives of Defoe. The indirect method of narra-
tion led to the abrupt opening in the midst of things, for the
supposed narrator took up the thread where the hero or hero-
ine crossed his path, and worked both forward and backward,
incidentally rambling off into his own affairs and the life-
histories of all chance acquaintances. This method, also, the
seventeenth century servilely copied — ^we find La Calprenede
and his contemporaries rivalling Heliodorus in the " art of
holding the suspense" by introducing a new story at every
crisis. The action was still further complicated by disqui-
sitions on love not unlike the love dubbii^^ by resounding
^ We meet the type in the Elizabethan/ drama, notably in the comedies and
tragi-comedies, for instance, Shakspere's Rosalind, Beatrice, Portia, but
seldom in the fiction.
" Particularly in the Leucippe and Clitophon. See pp. 354, 363, 37s.
13
hortatory passages both in and out of season, and by long
descriptions of so-called natural scenery. We are never left
in doubt as to the precise appearance of the sympathetic rocks
and trees to which the unfortunate characters confided their
woes. The style, ornate in the extreme, well suited the matter.
The carefully wrought descriptions, the appropriate phrasing
of sentiments, and the "elegance" of the diction rivalled the
subject-matter in holding the attention. In the peculiar bal-
ance and antithesis, in the far-fetched figures, in the "un-
natural natural history," in the subtle playing on words, we see
the model of the Euphuism of the Elizabethans, and of the pre-
ciosity of the seventeenth century.
The widespread popularity of these romances can scarcely
be gauged by the number of editions, but the fact that Helio-
dorus'" ran through ten editions in Enghsh between 1587 and
1700 is at least suggestive. We find, too, that the dramatists
ransacked these romances for episodes and situations.^'- More
directly they furnished material for such a play as Gough's
Strange Discovery (1640), founded on Heliodorus, and Settle's
Fatal Love (1680), drawn from Leucippe and Clitophon.
Their vogue is to be explained on the ground that they satis-
fied the taste of the time for the theatrical, the complex, the
marvellous, the sentimental, and, to a certain extent, for the
morbid. They were the product of a sophisticated and deca-
dent civilization, but they possessed the superficial effectiveness,
the fatalism, and the word-painting with which to capture the
fancy of the imaginative, sensation-loving Elizabethans. And
at the same time, they were characterized by an over-refine-
ment and unreality which appealed strongly to European
society at the close of the Renaissance, when men were
once more looking backward rather than forward, for re-
finement rather than strength, and seeking to escape from,
rather than to cope with, the hard facts of reality. The influ-
^ Cf. Oeftering, Heliodor und seine Bedeutung fur die Litteratur.
" It is hardly necessary to mention the devices of infant exposure, the
fulfilling of an oracle, sleeping potions, shipwreck, mistaken identity, and the
like, which figure so prominently in the romantic comedies of Shakapere,
Beaumont and Fletcher, and their contemporaries.
14
ence of the Greek erotic romances cannot be over-emphasized.
They were an incentive to the cultivation of the sentimental
and artificial in all phases of life and literature, and at the
same time they served as models in structure, style, content,
and spirit, for those seventeenth century romances which imme-
diately preceded the novel of manners. As Mrs. Barbauld^^
suggestively commented in discussing Richardson's predeces-
sors: "If we were to search among the treasures of ancient
literature for fiction similar to the modern novel, we should
find none more closely resembling it than 'Theagenes and
Chariclea.' "
The Arcadian Romances'^
Among the most popular of seventeenth century romances
was the Arcadia of Sir Philip Sidney, which, though first
printed in 1590, was so widely read in our period that it very
properly calls for some consideration. In this work Sidney
combined the chivalric and Greek narratives in a manner
highly suggestive of the heroic romances. To put it briefly;
he was indebted to the Amadis cycle for episodes,^* and to
Heliodorus, Montemayor, and Sannazaro for the design, a
semi-pastoral in which courtiers and ladies-in-waiting, posing
as shepherds and shepherdesses, figure in endless love scenes
interspersed by duels, battles, and shipwrecks. Looking
toward the later development, we note three significant fea-
tures in the Arcadia: first, the shifting of the interest for-
ward from the adventures ensuing on the elopement, as in the
Greek romances, to those concerned with the wooing of the
heroine; secondly, the idealizing of the characters to make
them represent the " perfect courtier " and the " perfect lady " ;
and thirdly, the mingling of the Greek indirect method of
"^ The Correspondence of Samuel Richardson, A Biographical Account,
by Anna Laetitia Barbauld. London, 1804, i. xi.
" For a detailed discussion see : The Countess of Pembroke's Arcadia, ed.
H. O. Sommer, K. Brunhuber, Die Arcadia und ihre NachlSufer, S. M.
Davis, Life and Times of Sir Philip Sidney, which contains a full summary
of the Arcadia, and W. W. Gregg, Pastoral Poetry and Pastoral Drama,
pp. 142-154.
" Sidney's indebtedness to Bk. 1 1 of Herberay des Essarts's translation of
the Amadis has been pointed out by Brunhuber and by W. V. Moody. See
also a note in Upham, The French Influence in English Literature, p. 50.
15
narration and its accompanying sentimental and reflective point
of view with the direct method of the romances of chivalry.
Yet it must not be inferred that the Arcadia is a mere con-
glomeration. It is decidedly the best romance we shall have
to consider, a masterpiece of its kind, and furthermore, in
characterization, notably in the sympathetic delineation of
Philoclea and Pamela, there is nothing comparable with it
until the narratives of Richardson. That Richardson named
his " virtuous serving-maid " after Sidney's heroine is an inter-
esting instance of literary relationship.^^
The original edition appeared in 1590, and was so popular
that the fourth reprint was made in 1599. The new century
saw no waning of its vogue. During the forty years preced-
ing the outbreak of the war, it was printed no less than nine
times, three times more by the end of the century, and shortly
•thereafter "modernized" by a certain Mrs. Stanley.^' There
were also, several additions, continuations, and dramatiza-
tions.^^ References to the Arcadia are legion. We all know
Milton's acknowledgment that the " vain amatorious poem "
was a book " in that kind full of worth and wit."^* Waller,
Cowley, Sir William Temple, and Bishop Hurd all read it
with pleasure. Finally, Addison, it will be remembered, men-
tioned it among the books in " Leonora's Library."®* Indeed,
so great was the reputation of Sidney's Arcadia that it was
honored with both German and French translations, and in
161 1, we find Du Bartas referring to Sidney as one of the
" three firm pillars of the English speech."*" The Italian
^ Jusserand, The English Novel in the Time of Shakspere, p. 274.
*'i5go, 1606, 1613, 1623, 1627, 1628-29, 1633. 1654-5, 1662, 1674, 1725.
" A Supplement of a Defect in the Third Part, by the Earl of Stirling in
1621, a, Sixth Book by Robert Beling in 1624, a continuation by Mrs. Weames
in 1651, a poetical version of an episode, the much read Argalus and Par-
thenia by Quarles, in 1629, and dramatizations like Shirley's Arcadia, c.
1630-40, and Glapthorne's Argalus and Parthenia, c. 1639. See Ward, III.,
102.
^ Eikonoklastes, Section I. — Works, London, 1801, iii. 451.
=» Spectator, 37.
" Jusserand, The English Novel in the Time of Shakspere, p. 274, mentions
that two translations appeared so close to one another, 1624 and 1625, as to
give rise to a bitter quarrel. He also quotes The Week of Du Bartas from
Les Oeuvres (1611). More and Sir Nicholas Bacon were the other " pillars."
16
Biondi referred to Sidney as "the Phoenix" of romance
writers, whose " Arcadia he was unable to translate but hoped
to imitate."*^ As a matter of fact his romances are far more
in the manner of the French adaptations of HeUodorus than
of Sidney.
Imitations, strange to say, were not very numerous. In
England about the time of the publication of the Arcadia,
Greene, Lodge, and others wrote, to borrow their own phrase,
" after the manner of Sir PhiHp Sidney." They imitated,
however, merely the externals, and in a few years their works
were reprinted only as chapbooks. During the seventeenth
century, although many romances were given an Arcadian
title and many authors were indebted to it for their episodes,
there was only one close imitation. The Countess of Mont-
gomery's Urania (1621), by Lady Mary Wroth. This most
invertebrate romance has never been reprinted but because the
authoress was " niece to Sir Philip Sidney," it has received far
more attention than it deserves. The other romances of the
time were translations or close imitations of the French. In
short, so far as our own fiction is concerned, the influence
of the Arcadia although it remained a popular book for so long,
due in part, perhaps, to the prestige of Sidney's name, is a neg-
ligible factor. Its vogue is interesting as showing that there
already existed in English fiction characteristics and tenden-
cies which, had it not been for the political disturbances that
checked literary development, would in all probability have
produced the same sort of romances that were later imported
from France. What influence, if any, the Arcadia had on the
continent is purely a matter for conjecture.*^ No study has
been made of its influence on French fiction, though its likeness
to D'Urfe's Astree, and the characteristics which it has in com-
mon with the heroic romances offer an interesting field for
speculation.
" Preface to his romance Domella Desterrada, which appeared in English
in 1635.
*^In addition to the translations of 1624 and 1625, M. Jusserand cites a
play, Mareschal's Cour Bergere (1640), mentions that a copy of the 1605
edition of the Arcadia was in the Jesuit library that later came into the
possession of Fouquet, and states that Niceron, Florian and Chapelain
admired it. The Eng. Novel, p. 279.
17
The Euphuistic Romances
The other great EHzabethan romance, the Euphues*^ of
John Lyly, is less obviously indebted to its chivalric and Greek
predecessors. Indeed, in spite of its romantic tone and style,
so realistic is it in purpose and content that M. Jusserand
regards it as our first novel of manners.** Yet, to quote Dr.
Utter, who has analyzed it carefully, the plot although " one
which could hardly fail of success if properly worked out "
was left " so undeveloped as to be scarcely distinguishable
beneath the other material under which it is burdened. We
find all the machinery for development and analysis of char-
acter and emotions standing idle, a complete absence of back-
ground and sense of fact that would reflect contemporary life
and manners with anything like specific detail."*^ As a
matter of fact, Lyly cared nothing for his story and little for
his characters ; his whole concern was to teach by precept and
example the ladies and gentlemen of Elizabeth's court how to
behave according to the latest Italian fashion. In the Arcadia
there is a somewhat similar didactic element, in that Sidney
was interested in the " perfect courtier." But there is a
fundamental difference between the two; Sidney was con-
cerned with the Platonic ideal in which details of manners,
dress, and language are accessories, Lyly was writing a con-
duct-book in which " manners make the man." In the prac-
tical quality of his didacticism Lyly closely resembles Rich-
ardson.
It does not follow that the latter was familiar with the
Euphues; in fact, it is unlikely, for by 1740 Lyly's work was
almost forgotten, only one edition, and that moralized and
abridged, being printed between 1637 and the publication of
Pamela.*^ The very features which gave it such a vogue at
" The Works of John Lyly. Ed. W. Bond, vol. i.
" Jusserand, The Eng. Nov., p. 123 sg.
"Robt. P. Utter, Studies in the Origin of the English Novel. Harvard
Dissertation, 1906. Unprinted. See also, "Source of Euphues; the anat-
omy of Wyt," by S. L. Wolff in Mod. Philol., 7, S77-8S, April, 1910.
"Jusserand, Ibid., p. 123, makes much of the 1716 edition in this connec-
tion, but it is doubtful if it greatly influenced Richardson twenty-four years
later.
3
18
the time of its publication were of a transitory nature, for
only so long as the behavior and conversation of Euphues and
Philautus were fashionable was it in demand. And although
it continued to be reprinted until the outbreak of the Civil
War, it had ceased to be authoritative long before 1625, when
Henrietta Maria made French etiquette supreme at the court.
Greene,*' Lodge, Munday and other Elizabethans, simplified and
condensed the material, increased the number of incidents, and
exaggerated the striking and superficial features of the style.
These narratives, after a brief vogue, enjoyed popular favor as
chapbooks*'* before dropping into oblivion. In short, the situ-
ation parallels that of the Arcadia and the heroic romances :
we have in embryo, characteristics and tendencies which we
find later in the idealistic novel of manners of the eighteenth
century, and yet there is no ground for supposing that the
latter developed from the former. There is, however, this
difiference between the two cases ; the novel of Richardson was
not perfected in France and then translated, but developed in
England, under conditions which made possible the combining
of the realistic material of the chap-book and drama with the
conduct book and romance tradition.
Political and Allegorical Romances*^
Political and allegorical romances were popular with the
educated throughout the seventeenth century, particularly so
during the first sixty years, when the country was in a state
of political and social unrest. From the point of view of the
literary historian they are unimportant, since they mark the
adoption of the romance form for purposes of satire and prop-
aganda rather than any legitimate development. All the works
" For an admirable study of Greene, see " Robert Greene and the Italian
Renaissance," by S. L. Wolff, Englische Studien, for 1907, xxxvii. 321-74.
"^ Pandosto by Greene (1588) was printed in 1614, 1648, 1677, 1688, 16916,
1703; Ciceronis Amor by Greene (1596), in 1606, 1607, 1611, 1616, 1628,
1639; Arbasto by Greene (1584), in 1626; Rosalynde by Lodge (1590), in
1592, 1598, 1607, 1609, 1612, 1623, 1634, 1642.
** For more detailed discussion see Begley, Nova Solyma, ii, pp. 366-400.
Ideal Empires and Republics (Universal Classics Library, 1901), contains the
Utopia and New Atlantis with an introduction by C. M. Andrews.
19
with which we are concerned in this cursory survey fall into
one of two groups: ideal commonwealths (of which the
" voyage imaginaire " is a variety) and allegories.
The ideal commonwealths, with their various theories for
benefiting mankind, belong more properly to the history of
political theory than to that of prose fiction, since, in most
instances, there is no plot, no love theme, no characterization,
and little action. As the name implies, these romances, like the
pastorals, depicted ideal conditions, but unlike the pastorals,
were concerned with the theories of government, religion, and
industry, which it was assumed would eliminate injustice,
impiety, poverty, and all other evils. By depicting the happi-
ness of people living under the proposed conditions, the authors
sought to bring about certain reforms or to abolish abuses.
Unfortunately, the writers too often resorted to satire and to
minute description of vice. After the Restoration, the form
was utilized in such compilations of scandal as Mrs. Manley's
Memoirs of Some Persons of Both Sexes, from the New'
Atalantis and Mrs. Haywood's Memoirs of an Island Adjacent
to Utopia.
The earliest, the best, and always the most popular ideal
commonwealth of English authorship, is the Utopia of Sir
Thomas More. The original Latin edition appeared in 1518,*®
and in 1551, Ralph Robinson turned it into the vernacular.
The earliest imitation by an English writer seems to have been
the Mundus Alter et Idem,^" attributed to Joseph Hall, which,
although entered on the Stationers' Register as early as 1605,
did not appear until 1607. It is an inferior Latin work,
describing in satirical vein and in the mediaeval man-
" It was reprinted in that language, if we include the continental editions,
at least eleven times by 1700. In 1551, it was translated into English by
Ralph Robinson and reprinted in the vernacular three times — IS97, 1624.
1639 — besides which it was turned into German, French, Dutch and Italian,
provoking imitations in those countries, which in turn made their way into
England.
'"Mundus alter et idem sive Terra Australis ante hac semper incognita
longis itineribus peregrini Academici nuperrime lustrata. Auth. Mercurio
Brittanico, 2 eds., Hanover and Frankfurt, 1607. There was a German
translation in 1613. Cf. Begley, Nova Solyma, iii. 389.
20
ner the countries of " Crapulia," "Viraginia," "Lavernia,"
and the like. It enjoyed considerable favor and, in 1609,
was translated as The Discovery of a Newe World, or, a
description of the South Indies; hitherto unknown. By an
English Mercury. The title reflects the influence of the books
of travel and discovery, then so numerous. Imitations were
coarser and more satirical than the original. Psittacorum
Regio. The Land of Parrots or the Shetlcmds, with a descrip-
tion of other strange adjacent countries in the Dominions of
the Prince de I' Amour (1669), The Travels of Don Francisco
de Quevedo through Terra Australis Incognita, discovering the
Laws, Customs . . . of the South Indians (1684), and The
Island of Content; or a new Paradise discovered (1709) de-
scribe lands of license much in the manner of Hall. Superior
to Hall's work and more in the spirit of More, are the New
Atlantis by Sir Francis Bacon, which was not published until
1627, and the Commonwealth of Oceana^^ by James Harring-
ton (1657). The former which, like most of these romances
is in the autobiographic form, starts out almost as promisingly
as Pilgrim's Progress, and for a little while, the narrative, with
its exact record of the ship's adventures " after they sailed from
Peru," holds the attention, but all too soon, it is submerged by
the lengthy descriptions of the institutions and customs of the
imaginary commonwealth. Together with various continua-
tions, the New Atlantis was printed in 1660, 1670, 1676, and
1702, and very probably suggested to Mrs. Manley the title for
her Memoirs of some Persons of both Sexes, from the New
Atalantis which appeared in 1709. Decidedly more diverting is
the Man in the Moone, by Domingo Gonsales,^^ which appeared
^ The Oceana sets forth the scheme of government Harrington and his
party hoped to see adopted in England at the time of Cromwell's death and
is far too practical to be regarded as a Utopia and too lacking in narrative
interest to be classed as a romance.
"^Z. e., Francis Godwin, Bishop of Llandaff and later of Hereford. The
work was not published until five years after the author's death and then
pseudonjrmously. In 1657, it was reprinted and again in 1768, while it sup-
plied Bishop Wilkins with his title Discovery of a New World in the Moon,
and Burton (Nathaniel Crouch), with much of the material for The Eng-
lish Acquisitions of Guinea and Bast India (1728). (See supra, p. 4.)
21
in London in 1638, in 1657, and again in 1728. It contains, ac-
cording to Begley, a good deal of picaresque material and is a
predecessor of Robinson Crusoe in having the hero and his man
wrecked on an uninhabited island. To this work Cyrano de
Bergerac is indebted for some of the devices and material in
The Comical History of the States of the Moon and the Sun,
which romance, translated in 1687, directly influenced Defoe
in the Consolidator (1705) and Swift in Gulliver's Travels
(1726). The last-mentioned work far surpasses all the
romances we have been considering in narrative skill, vivid
description, keen characterization, and excellence of literary
style, but it is so permeated by a satiric and unromantic
spirit, and in the method of presentation it is so closely affiliated
with the realistic pseudo-voyages that it can scarcely be re-
garded as a representative ideal commonwealth.
Gulliver's Trauels^^^ belongs primarily to the province of
satire. To quote Sir Walter Scott : " No word drops from
Gulliver's pen in vain. Where his work ceases for a moment
to satirize the vices of mankind in general, it becomes a stric-
ture upon the parties, politics, and courts of Britain ; where it
abandons that subject of censure, it presents a lively picture
of the vices and follies of the fashionable world, or of the
vain pursuits of philosophy, while the parts of the narrative
which refer to the traveler's own adventures form a humor-
ous and striking parody of the manners of old voyagers, their
dry and minute style, and the unimportant personal incidents
with which their journals are incumbered." Yet so skilfully
is the satire woven into the warp and woof of the narrative,
that it never obtrudes or hinders the action, so that, as we all
know, children enjoy the " story " without being aware of any
ulterior purpose. The incidents follow one another in rapid
succession, while the minute detail, arithmetical accuracy, un-
failing consistency, and homely comparisons with which Lilli-
put, Brobdingnag, and to a less extent, Laputa and the Coun-
"^^ Travels into Several Remote Nations of the World. In four parts.
By Lemuel Gulliver, first a surgeon and then a captain of several ships.
2 vols., 1726.
The Works of Jonathan Swift, ed. Sir Walter Scott.
22
try of the Houyhnhnms, are described, make them as convin-
cingly real as Crusoe's island. The illusion of truth thus cre-
ated, is enhanced by the fortuitous unity of the memoir
structure and the substantiality of Gulliver's character. The
style, too, straight-forward, and plausibly circumstantial, as
becomes a matter-of-fact ship's surgeon, conduces to the de-
ception. But although the style is as plain and clear as that of
Defoe or Bunyan, it is less simple, less colloquial, more concise
and nervous, and enlivened by stinging sarcasm ; in a word, it is
more literary.
Of Swift's other works, the Tde of a Tu¥^^ is the only one
that can fairly be called a narration. Like Gulliver's Travels
it is a vehicle for satire, in this instance not so much of all
mankind as of the three representative Christian Churches:
Catholic, Calvinistic, and Lutheran. As a satire, it is per-
haps unexcelled, but as a narrative it is less good. The tale
of the three brothers is told as plausibly, as rapidly, and as
audaciously as are the adventures of Gulliver, but the incidents
are inherently less interesting. The style is remarkable for its
brilliance and extravagance. Some of the best passages occur
in the digressions which Swift inserted, much in the manner
of Scarron and Fielding, but managed far more cleverly than
either. The features that characterize the Tale of a Tub and
Gulliver's Travels — the genius for narration, for seizing dra-
matic possibilities, for keen characterization, and for descrip-
tive phrase — are prominent in the Battle of the Books, the
Journal to Stella, in the vivid, if not very refined. Polite Con-
versation,^^' and in the many anecdotes and narrative passages
scattered through his other works. Yet master narrator that
he was. Swift's influence on prose fiction was not great. He
perfected for satiric ends the various devices and sugges-
tions he found in the mediocre productions of his pred-
ecessors, but he contributed to his successors neither new ma-
terial nor new devices. His imitators are to be found among
the satirists rather than among the novelists. As Pilgrim's
^^ A Tale of a Tub . . . with an Account of a Battle between the Ancient
and Modern Books in St. James's Library. London, 1704.
''" Polite Conversation in Three Dialogues, 1738.
23
Progress is to be regarded primarily as the culmination of the
religious allegory, so Gulliver's Travels is to be regarded as
the culmination of the satirical "voyage imaginaire," rather
than as one of the sources of the novel.
On the whole, writers of fiction are not very largely indebted
to the ideal commonwealths."* From them, no doubt, they
learned much of the art of matter-of-fact description, especially
that trick, if it may be so styled, of giving the semblance of
reality by an abundance of minute and consistent detail. To
them, we are also indebted, in part at least, for the perfection
of two devices which were much used about the close of the
century ; namely, the foreign observer and the " voyage imagi-
naire," one of which the author invariably used to account for
his knowledge of the remarkable country. The first is the less
common in the romances but was later exploited in satires such
as The Turkish Spy^* (1698), the London Spy (1703-08), and
Goldsmith's Citizen of the World (1760). The "voyage imagi-
naire," with its initial shipwreck, was the ordinary opening,
and is the basis of the Robinsoniad.
The allegorical romances, by combining all the character-
istics of the Greek and chivalric romances with the additional
attraction of having some or all of the characters and episodes
represent prominent personages, countries, or political events
made a high bid for favor. This sort of romance was prac-
tically invented by John Barclay"^* in his learned Latin fiction
°' In addition there were a number of insignificant romances, such as the
Kingdom of Macaria (1641) by Samuel Hartlib, advocating agricultural
reforms; Olbia, a new Island (1660) by John Saddler, a cabalistic treatise;
and the Blazing World (1668) by the Duchess of Newcastle, dealing with the
wonders and possibilities of science. The currency of cabalistic doctrine is
attested by a rather clever burlesque called The Count of Gabalis; or the
Secrets of the Cabalists, which came out in 1680 and is included in Mod.
Nov., vol. ii. This is a translation by P. Ayres of Le Comte de Gabalis
(Paris, 1670) by the Abbe Montfaucon de Villars. Dunlop, ii. p. 540, men-
tions only the translation of 1714.
"Infra, p. 106, n.
"'John Barclay (1528-1621), son of William Barclay of Aberdeenshire,
was born at Pont-a-Mousson and brought up in France. In i6os> he visited
England, where he remained ten years. For some time he lived in France,
but his later years were passed in Rome. Under the pseudonym of Euphormio
24
Argenis (1621).^° Allegory was nothing new in fiction, for it
played a prominent part in Diana, Astree and similar
romances. But Barclay extended it from the social life of
some special group to the political and social life of all Europe,
merely centering the interest upon his own country, France.
' Some events and personages,' says the translator, ' are certain
and easily unmasked, others are uncertain, betwixt and be-
tween, as it were, and others are purely imaginary. Of the
first group is Poliarchus, whom we know for certain to be
Henry IV of France; of the second is Hyamsbe, supposed to
be Elizabeth of England ; of the third is Argenis and the ladies
of the Court.'
The plot centers around the love of Poliarchus for Argenis.
It is a typical Greek story of imprisoned princesses, ship-
wrecked nobles, gallant pirates, and innumerable rivals. In-
terspersed are sundry discourses, such as the " Ability of some
Men," "A Discourse of a Theefe," "Discourse on Lawyers,
Counselors and Advocates," a "Discourse of Madness," and
on "Tribute and Impositions of Kings on their Subjects," as
well as comic scenes in which the peasants play a prominent
part. Thus we have an erotic romance of the Greek type,
bearing an acknowledged relation to actuality and introducing,
in the discourse on thieves and the comic scenes from low life,
the stock material of realistic fiction.
The vogue of the Argenis was tremendous. In England,
with which alone we are concerned, although a Latin edition
was entered on the Stationers' Register in 1622 and a transla-
tion by Ben Jonson for Blount, in 1623, the earliest extant edi-
tion is the translation by Kingesmill Long, which appeared in
Lusinius, Barclay wrote a Petrouian satire, called the Satyricon, against the
machinations of the Jesuits. It appeared in three instalments (1603, 160s
and 1 614), the last of which, Icon Animorum, somewhat resembles the con-
temporary rogue stories. He also wrote an Apologia for this satire, some
Latin verses, and, later in life, controversial pamphlets in favor of the
Catholic Church.— Cf. R. Gamett, D. N. B.
"' The idea of the romance may have been suggested by the Cyropaedia of
Xenophon, as it is often stated, but there is no striking likeness between the
Argenis and the Greek work or any of the numerous political romances then
current.
25
1625. Long's translation was followed by another version, that
of Sir Robert Le Grys in 1629, and by reprints, condensations
and continuations in 1635, 1639, 1669 and 1674. In 1772, it
was retranslated and highly praised by Clara Reeve and as late
as 1803, Coleridge referred to it in laudatory terms.°^ In
France, the Argenis was followed by the almost equally famous
Endymion of Gombauld which never acquired popularity in
England. There were a few amateurish imitations in English,
but the heavy Latinized style deemed essential for a serious
romance, so overwhelmed the authors that they failed to make
clear either the plot or the allegory. Moreover, as these imita-
tions were, in nearly all instances, written after the appearance
of the heroic romances, the writers were further hampered by
trying to incorporate the most prominent features of the latter.
First to appear was the Icaria of John BisselP'' in 1637, a tiny
Latin tome concerned with religious matters and not bearing
much similarity to the Argenis. Gloria and Narcissus by " an
Honourable Personage " appeared in three installments, in
1653, 1654, 1655, and as a whole, in 1661, so that there must
have been a continued interest on the part of the public. But
taste has changed since then, and we find the endless loves of
Gloria, Narcissus, and their innumerable friends and enemies,
tedious beyond endurance, and the allegory, with its possible
references to the wanderings of Charles II, a matter for con-
jecture. In 1659, an anonymous writer produced Panthalia, a
Royal Romance, in which Charicles (Charles II) wins Pan-
thalia (England) from the villain Cromwell. In 1648,
appeared Nova Solyma, a quaint medley of romance, allegory,
and ideal commonwealth in pedantic Latin, which was first
translated and presented to the world as the work of John
Milton^^ by W. Begley in 1902.
""Notes on Barclay's 'Argenis,'" 1803, Works, ed. Shedd, vii. 376.
" Of " John Bissel of the Jesuits," little is known. In addition to the
Icaria he wrote, also in Latin, an account of the Jesuit missionaries under
the title Argonauticon Americanorum sive Historic Periculorum Petri de
Victoria, 1647.
** In " Nova Solyma ; a romance attributed to John Milton," in Mod.
Philol. for April, 1904, i. s^S, Dr. W. A. Neilson refutes Mr. Begley's argu-
ments in detail and discusses the romance at some length.
26
The Flower of Fidelitie (1650) by John Reynolds'" harks
back in style to the Euphues and the Arcadia, but suggests even
more, to compare small things with great, the Faerie Queene.
Three princes wander through the deserts and forests of Africa
in search of adventure, and finally, after rescuing many dis-
tressed damsels, overcoming many monsters, and withstanding
the temptations of the bower of bliss, win three incomparable
princesses and return to their homes, where they live right-
eously and rule wisely for many years. The Flower was
reprinted several times but never enjoyed the popularity of the
author's God's Revenge against Murder, a collection of tragic
tales which Gildon groups with Pilgrim's Progress and
Robinson Crusoe among the possessions of " every old woman."
The Aretina (1660) of Sir George Mackenzie is a much
closer copy of the Argenis. The author, in a rather diverting
preface, apologized for romances on the well-known plea that
the story was but a means for inculcating moral precepts, " the
sugar coating of the pill." This led him to an examination of
the romances of his day which, in his opinion, failed, either,
because, like the old romances of Amadis and Palmeryn they
were " stuffed with things impracticable," or because, like the
later works of Scudery, they were written in a "too soaring
style." Both of these faults Mackenzie promised to avoid,
but the reader will find the combats, the tourneys, the travels,
and the loves of Monanthropus, Megistus, Ophni, and Aretina
as improbable and bewildering as those of Amadis or
Polexandre, and the style no nearer simplicity. The brief
"John Reynolds, who flourished between 1620 and 1640, travelled exten-
sively in France. In 1621 he published the first part of The Triumphs of
God's Revenge against the crying and execrable sinne of (Wilfull and Pre-
meditated) Murther, a collection of tales translated from the French, and in
1635 issued the complete six parts comprising "thirty tragicall histories," in
which form it was often reprinted. The Flower of Fidelitie, which he first
published in 1650, is generally described as an Arcadian imitation, but I
imagine Reynolds in this, as in his other works, was drawing from French
sources. It was later called The Garden of Love and Royal Flowers of
Fidelity, under which title the fourth edition appeared in 1692 and the
seventh in 1721. He also translated A Treatise of the Court from the French
of E. de Refuge, and The Judgement of Humane Actions from the French
of L. de Marande. Cf. D. N. B.
27
tales or novels which Mackenzie, in imitation of the Argenis,
interspersed through his romances, while not possessing much
originality or merit, are the most interesting portions of y^ref ma.
The allegory is difficult to trace, but in one of the numerous
essays which the author "laced upon his romance," he ex-
plained that it referred to the relations between England and
Scotland. Bentivolio and Urania, a religious romance by
Nathaniel Ingelo, also appeared in 1660. It was reprinted in
1668, 1673, and 1684, the last time with a much needed gloss
for recondite words and phrases. The mention of religious
allegories at once suggests Pilgrim's Progress, but this is to be
associated with the chapbooks and homilies and not with the
literary romances.
On the whole, the political and allegorical romances, with the
exception of the Utopia, the New Atlantis, Gulliver's Travels,
and the Argenis, have no literary value, and the last possesses
little vital interest. Neverthless, as a class they were not with-
out an influence on later fiction. In the first place, they made
the element of actuality important, for unless the relation to
contemporary manners and conditions was clear, the allegory
and the satire lost all point, and in the second place, they were
instrumental in the perfecting of two important devices, the
" voyage imaginaire " and the foreign observer.
The Heroic Romances'"
All the romances of the seventeenth century are commonly
styled " heroic," but speaking more strictly, the term should be
confined to those narratives informed with the " heroic temper,"
that is to say, those in which the characters and events are
idealized on a large scale, or, to quote Dryden, " the images and
action are raised above the life."°^ The most perfect examples
are the well-known works of La Calprenede and the Scuderys,
" For further discussion see : P. H. Koerting, Geschichte des Franzosichen
Romans im XVII lahrhundert, A. Le Breton, Le Roman au dix-septUme
Steele, Thos. F. Crane, Les Heros de Roman. Introduction, La Societe
Frangaise du dix-septUme Steele, and M. F. von Waldberg, Der empfind-
same Roman in Frankreich.
" J. Dryden, Essay on Heroic Plays, ed. W. P. Ker, i. 48.
28
which afford the best means of studying the type. Any de-
tailed account of the origin of the heroic romances or any
analysis of particular works is unnecessary, but a slight knowl-
edge of their history is practically essential for a proper
understanding of their characteristics and of their significance
in the development of the modern novel.
According to Professor Koerting, the heroic romance passed
through three stages. The foundation was the Astree (c.
1610-1627) of Honore d'Urfe written somewhat after the
manner of Montemayor, and combining, like Diana, elements
from the Greek, chivalric and pastoral romances, ideals of
conduct derived from Castiglione, and a more or less vague
allegory of the social life at court. It somewhat resembles the
Arcadia, but has a larger pastoral element and is more
elaborate and carefully wrought.'^ Then came Gomberville's
Polexandre (1637), which Professor Koerting regards as the
first genuine heroic romance. Gomberville rejected most of
the pastoral material and much of the delicate sentiment, sub-
stituting in their stead wanderings in strange countries and a
spirit of braggadocio. He followed the Greek structure and
utilized its devices, but otherwise his romance, with its hero
of virtu struggling for love and glory, is in the manner and
spirit of Amadis. The second and final step in the perfecting
of the genre was taken by La Calprenede, who combined all
the features of the courtly Astree with the heroic adventures
of Polexandre, and utilized as a setting, the glamour-covered
ages of classical and mediaeval antiquity. His Cassandra
(c. 1647), Cleopatre (c. 1648), and Pha/ramond (c. 1658),
Koerting ranks as the most perfect examples of the heroic
romance. With the works of the Scuderys began the period
of decadence. The Grand Cyrus (c. 1649), Almahide (c.
1652), and Clelie (c. 1656) differ little from the romances of
La Calprenede, but the over-refinement of sentiment and style,
the far-fetched political allusions, the long interspersed essays,
and the close representations of the salons of the precieuses,
under the thin veil of romance, made them an easy subject for
ridicule.
" The Astree combines practically all the elements in the different types of
narratives. Cf. Reynier, Le Roman, Sentimental avant L' Astree, p. 150 sq.
29
With the actual content of the romances — ^the pseudo-history,
the episodes, the actual personages concealed under the feigned
names — we are not concerned, since we are regarding them
solely with respect to the English development. From this
point of view, there are five important features : first, the recog-
nition of the romance as a dignified literary form with classical
models from which rules could be drawn ; second, the deriva-
tion from those models of certain canons, some of which have
influenced fiction to the present day; third, the creation of a
type of hero and heroine which, with slight modifications, is
with us still ; fourth, the predominance given to sentiment ; and
fifth and last, the emphasis laid upon a pure, moral story as
well as on a didactic purpose. Each of these requires a word
of explanation.
The new respect with which romances were regarded was
due partly to the prevailing taste for prose fiction, partly to
the social and literary prestige of the authors and of the Hotel
de Rambouillet, under the auspices of which the heroic ro-
mances were written, and partly to the esteem accorded to the
Greek romances, as works of the " ancients." D'Urfe, La Cal-
prenede and Mile, de Scudery®* all consciously patterned their
romances after Heliodorus, whom they regarded in much the
same light as the playwrights regarded Seneca. And much
as the dramatists, both consciously and unconsciously,
utilized the indigenous material, the writers of prose narratives
incorporated elements from the chivalric stories and the ro-
mantic epics. Be it noted in this connection, that little dis-
tinction was drawn between prose and poetry, a fact which ac-
counts for much extravagance. Bishop Huet°* regarded the
"^ " J'ai pris et je prendray toujours pours mes uniques modelles I'imortel
Heliodore et le Grand Urfey. Ce sont les seuls maistres que j'imite et les
seuls qu'il faut imiter.'' Mile, de Scudery, Introduction to Cyrus.
" Heliodore I'a surpasse dans la disposition du sujet, comme en tout le
reste." Huet, L'Origine des Romans, p. 380.
°* Huet, L'Origine des Romans, p. 348, " Ce que I'on appelle proprement
romans, sont des histoires feintes d'aventures amoureuses, ecrites en prose
avec art, pour le plaisir et I'instruction des lecteurs. Je dis des histoires
feintes, pour les distinguer des histoires veritables. J'ajoute d'aventures
amoureuses, parceque I'amour doit etre le principal sujet du roman. II faut
30
use of prose or poetry as a matter of fashion. " Heywood,"'^
in translating Biondi's Eromena, writes of "Heliodorian
poesie " ; Dryden, in discussing the heroic plays which were
based on the French romances, discusses the laws of an " heroic
poem"; and the Pharonnida, an epic poem by Chamberlayne,
was turned into prose under the title Eromena or the Noble
Stranger (1683). The distinction between prose and verse
narrative was not made until the rise of the realistic story at
the end of the century, and in fact the confusion lasted down to
the time of Scott.
From the Greek romances, as has been said, were derived
the canons according to which the later works were constructed.
They are admirably stated by Bishop Huet. First, he laid
down the law, which has since become an axiom, that " love is
the principal subject of romance"; second, that the "history"
must be feigned, not real, a rule to which little attention was
paid by realists of the next generation, but which was later
accepted; third, that the purpose is to teach the principles of
right living by rewarding virtue and punishing vice; and
fourth, that the presentation of the fable must follow certain
rules. These rules merely summed up the Greek method for
attaining surprise, suspense, etc., and fell into oblivion with
the heroic romances.
The most important deviation from the Greek romances was
in the matter of the hero and heroine. The passive Greek
hero, devoted solely to love, did not conform to the Western
ideal, and on the other hand, the chivalric hero was devoted too
exclusively to military fame ; so a compromise was effected by
qu'elles soient ecrites en prose, pour etre conformes a I'usage de ce siecle ;
il faut qu'elles soient ecrites avec art et sous de certaines regies, autrement
ce sera un amas confus, sans ordre et sans beaute. La fin principale des
remans, ou du moins celle qui le doit etre, et que se doivent proposer ceux
qui les composent, est I'instruction des lecteurs, a qui il faut toujours faire
voir la vertu couronnee et le vice puni " (page 348).
" Les romans, au contraire, ont I'amour pour sujet principal et ne traitent
la politique et la guerre que par incident. Je parle des romans reguliers;
car la pluspart des vieux romans . . . sont bien moins amoureux que mili-
taires," p. 350.
'"' See bibliography under Eromena, 1632.
31
making love and ambition two master-passions. In all proba-
bility, the hero was evolved from the Courtier of Castiglione,
for it needed but a theatrical setting to make a " Cyrus " of
that paragon. The heroine presents the companion picture of
the " great lady," charming all with her wit, her beauty, and her
"becoming attire." She does little, but being sensitive to a
degree, suffers much, and enjoys nothing more than describing
her every emotion. A drop in the social scale, and we have the
insipid parlor heroes and tearful heroines of the eighteenth
century.
The presence of realism and sentiment in the heroic romances
is often overlooked, because the language in which it is ex-
pressed is so affected, and the point of view so intellectual. As
a matter of fact, there are many subtle bits of characterization,
numerous examples of sound psychology, and sympathetic, as
well as minute, analyses of passion. The long " portraits "
were drawn from the life and immediately recognized by con-
temporaries.*® We find the hysterical outbursts, the tears, the
self-pity, the love of melancholy, and the cult of solitude which
we associate with the sentimentalism of Rousseau,®' but always
with this difference, that in the romances, conduct, if not the
heart, is invariably controlled by the head. No matter what
the emergency, you may depend upon the hero to show a
judgment "natural and proper," and the heroine never to sin
against the social code. The inculcation of virtue and pro-
priety was, in these French romances as in the Richardsonian
novels, a primary object with the authors. In this emphasis
upon the moral purpose there is nothing essentially new — Lyly,
Nash and the later Italian novelists, for example, had stressed
the didactic element — ^but a certain significance is derived
from the fact that during the reign of Restoration license, these
romances not only asserted that " virtue is rewarded and vice
punished," but were themselves pure in thought and phrase.®*
"' Cf. V. Cousin, La Societe frangaise au XVII^ sidcle.
" Cf. Waldberg, Der empfindsame Roman in Frankreich,
"Mrs. Barker in the introduction to Exilius (1715), and again in the
Lining of the Patchwork-Screen (1725), makes much of the edifying fea-
tures of the romances. See infra, p. 144 sq.
32
Such were the celebrated heroic romances which made their
way into England during the Protectorate and were at the
height of fashion, to judge by the translations, during the
reign of Charles II. They were, in all probability, well-known
before the English versions appeared, for the aristocracy, to
whom these romances appealed, were as familiar with French
as with English, and furthermore, the country gentry and
circles like those of the " matchless Orinda " and the Duchess
of Newcastle, prided themselves upon reading the original.'*
The translations were of two sorts ; literary exercises by noble
aspirants for fame, and redactions made for the bourgeoisie
by publishers' hacks and indigent "persons of quality." In
both cases the text was often condensed. According to M.
Charlanne, Polexandre was reduced by three books, and the
prefaces and epistles in which La Calprenede and Mile, de
Scudery aired their theories were ruthlessly cut out, so that
in the words of the same authority, the story stood " bare and
dry without ornament of any kind."'" The style, too, was
often so execrable that Dorothy Osborne's scathing criticism''^
was quite justified.
" I have no patience neither, for these translations of romances. I met with
Polexander and L'illustre Bassa both so disguised that I, who am their old
acquaintance, hardly knew them ; besides that, they are still so much French
in words and phrases that 'twas impossible for one that understands not
French to make anything of them. If poor Prazimene be in the same dress,
I would not see her for the world. ... Is it not my Lord Monmouth or some
such formidable person that gives her to the world ? "
Poor as they were, however, the translations were widely
read. To William Browne belongs the honor of first intro-
ducing these romances into English with his version of Gom-
berville's Polexandre in 1647. Five years elapsed before any
further translations appeared, then in 1652, came Loveday's
version of the first part of Cleopatre under the title of Hymen's
Praeludia, or Love's Masterpiece, parts two to seven came
" Cf. Charlanne, L'Inftuence Frangaise en Angleterre au XVIIe Siicle,
and Upham, The French Influence in English Literature,
™ Charlanne, Ibid., p. 380.
" Letters from Dorothy Osborne to Sir William Temple, ed. E. A. Parry,
London, 1888, pp. 160-61.
33
out the ensuing year, but parts seven and eight not till 1658,
the three remaining parts not till 1665, and the whole was
not printed together till 1671. In 1652, there also appeared
translations of Ibrahim and of Cassander, King of Macedon,
elegantly rendered into English by an Honourable Personage,
of which a better known version, by Sir Charles Cotterel, the
friend of the "matchless Orinda," is dated 1661. Artoh
mene, or Le Grand Cyrus followed in 1653, and we find it
advertised in the Term Catalogues for 1691. Three years later,
in 1656, appeared Cleila, a Historic Romance rendered by
Davies and Havers. In 1660, was printed Pierre de Hortigue's
Scipion, and in 1677, John Phillips, Milton's nephew, per-
formed the feat of translating both the Almahide and Phara-
mond. In addition to these long romances, there were heroic
conversations and harangues of which the most famous are
those of Mile. Scudery;''^ and short romances, which on the
score of their brevity, were often styled "novels." Such, for
example, are Fatal Prudence, or, Democrates, the Unfortunate
Hero (1679), Meroveus, Son of Chilperic I. (1682), and
Ildegerte, Queen of Norway (1721). The last two are de-
cidedly above the average in the conception of the plot and in
the delineation of character. The women are remarkably
strong, and, although possessing none of the Greek heroines'
subtlety of intellect, are the leaders in council and in action.
Numerous imitations were to be expected, and it is there-
fore surprising that not more than half a dozen English
romances can be so classed : Eromena, or. The Noble Stranger,
founded on Chamberlayne's Pharonnida (1683) ; Gloria and
Narcissus (1633-54-55-61); Parthenissa (1654-69); Pariy-
thalia (1659); Birinthia (1664); Arefina (1661) ; Pandion
and Amphigenia (1665) ; Gelenia (1723). Of these, Gloria,
Panthalia, and Aretina are political allegories as well, and have
been discussed under that category ; while Pandion, not being
markedly "heroic," belongs rather with the miscellaneous
romances. Of the remaining works, Parthenissa alone attained
''^ A Triumphant Arch, erected and consecrated to the Glory of the Femi-
nine Sex, translated by " J. B.," 1654, and The Female Orator, or the Courage
and Constancy of Women, trs. 1713.
4
34
any celebrity, a success due more to the prominence of the
author, Roger Boyle, better known as Lord Broghill, than to
the merits of the romance. The curious who would like to
know more in detail the content and structure of these folio
romances with which noble ladies whiled away their long
leisure hours, will find a full summary of Parthenissa in Ap-
pendix A. As for criticism, we can do no better than to quote
that of Boyle's contemporary, Dorothy Osborne.'^
" 'Tis handsome language ; you would know it to be writ by a person of
good quality though you were not told it ; but, on the whole I am not much
taken with it. All the stories have too near a resemblance with those of
other romances, there is nothing new or ' suprenent ' in them ; the ladies are
all so kind they make no sport. . . . Another fault I find, too, in the style —
'tis affected. ' Ambitioned ' is a, great word with him, and ' ignore ' ; my
' concern,' or ' of great concern ', it seems is properer than concernment ;
and though he makes his people say handsome things to one another, yet
they are not easy and " naive ' like the French, and there is a little harsh-
ness in most of the discourse that one would take to be a fault of a
translator rather than of an author. But perhaps I like it the worse for
having a piece of the ' Cyrus ' by me that I am hugely pleased with."
Eromena is less heroic and in many ways is closely modelled
on the French erotic romances, yet there is a deliberate attempt
to " raise the characters above the life," and to expound royal-
ist doctrines. The plot of the Spartan lord searching for
Eromena is interspersed with much irrelevant matter concern-
ing the Turks and Christians and is hidden in a mass of intri-
cate diction. The language is very figurative, and at its best,
as in the description of the heroine's passions as lying "at
anchor in the safe haven of serene thoughts,"'* not without
charm; but more often it is strained, as in "Rivers of tears
fell from her fair eyes " ;'= " Truth and Innocence smelt sweet
'= Letters from Dorothy Osborne to Sir William Temple, ed. E. A. Parry,
p. 228.
She also asks if it is true " that Waller is writing a romance concerning
the Civil Wars, and Lord Saye a something ! " No such works are known.
Monmouth translated (1641-46) Biondi's History of the English Civil Wars,
i. e.. Wars of the Roses. Possibly rumor confused this with a romance con-
templated by Waller.
'"'Eromena; or, the Noble Stranger. London, 1683, p. 50.
"/6»d., p. 66.
35
and grateful in the nostrils of all";'* "her prayers and
shrieks fill all the ambient air." "
Birinthea is open to even more stringent censure. Although
shorter than Parthenissa, the loves of Cyraeres, Cyrus, and
Birinthea with the interwoven story of Arspe and Panthea,
are, if anything, even more bewildering than those of Boyle's
characters. With the opening statement that "if the night
had not come and surprised them the battle had not been so
soon ended," the reader is plunged " in medias res " and is
whirled through innumerable battles, duels, shipwrecks, and
kidnappings, without discovering what it is all about. Celenia
is a very inferior piece of work. The characters are still
ostensibly on the heroic scale, but their motives are less pure,
their ambition less worthy, and the general tone vulgar — it is
decidedly the heroic romance in its decadence. Like Pwr-
thenissa and Eromena, it is interspersed with long discourses
on government and references to current politics. The pres-
ence of allegory and allusions to contemporary persons and
events is highly probable in all these romances, for it was a
striking feature of the French models. Moreover, Boyle in
his dedication to Lady Northumberland, gives us to under-
stand that Parthenissa resembles his patroness in so far as
his " feeble pen could portray her beauties." But on the
other hand, there is no contemporary evidence that personal
allusions were intended in any instance, and in the case of
Parthenissa this is the more remarkable, since Dorothy
Osborne, who discussed the romance at length and knew by
reputation at least, the society which Boyle frequented, did
not so much as hint at such a thing.
The influence of the heroic romances cannot be measured
merely by the translations and imitations. They were the
inspiration of those literary coteries^* that surrounded the
Duchess of Newcastle and Mrs. Katherine Philips. The mem-
bers, assuming romantic names with a classical ring, exercised
™ Ibid., p. 34.
"/6»d., p. 28.
™ Cf. Upham, The French Influence in English Literature, p. 333 sq., and
Gosse, Seventeenth Century Studies, p. 206 sq.
36
their wits in exchanging elegant epistles in the manner of the
"matchless Orinda" and Poliarchus (Sir Charles Cotterel).
Mrs. Philips herself contributed nothing to prose narrative, but
undoubtedly it was under her stimulating influence that Cotte-
rel and Davies made their translations, and that Boyle wrote
Parthenissa. The Duchess of Newcastle, on the other hand,
reflects their influence directly, since, to quote Pepys, "the
whole story of this lady is a romance and all she does is
romantic." Her narratives however, with the exception of
The Biasing World, are not romances, so discussion of them
will be postponed.'^
Many plays were founded on episodes in the romances:
Dryden's Conquest of Grenada was taken from AlmaMde,
Bower's Cyrus the Great from the romance of that name, and
Mrs. Behn's The Young King from Cleopatra. References
to the romances abound in essays and diaries. Addison, in his
list of books in " Leonora's Library "^^ mentions : " Cassandra,
Cleopatra, Astraea, the Grand Cyrus, with a pin stuck in one
of the middle pages, and Clelia which opened of itself in the
place that describes two lovers in a bower." Dorothy Osborne
has been quoted sufficiently to show how much she enjoyed,
and withal, how keenly she criticized the romances. Mrs.
Pepys was also partial to them, and from her husband we
learn that "she sat up till twelve reading Great Cyrus "^^
and that on another occasion she was greatly troubled by his
checking her " In her long stories out of Grand Cyrus, which
she would tell, though nothing to the point nor in any good
manner. "« And finally, as late as 1752, they were sufficiently
popular to give point to Charlotte Lennox's satire, the Female
Quixote.
Thus for nearly a hundred years the long French romances
of La Calprenede and Mile, de Scudery were an important
factor in English fiction. Much of the minute analysis of
passion, of the conventional didacticism, of the detailed descrip-
'" Infra, p. 128 sq.
''Spectator, No 37; see also Steele, The Tender Husband, 1705.
'^ Diary of Samuel Pepys, Globe ed., London, 1905, p. 59, entry for Dec. 7,
1660 ; p. 381, entry for May 12, 1666.
37
tion of manners and dress, of the reflective sentimentalism, and
of the complicated structure so prominent in the works of the
eighteenth century, can be traced directly to the heroic ro-
mances, " so unreal, so tedious, so patiently wrought."*^
Miscellaneous Romances
In addition to the romances we have been considering, there
were a large number of short miscellaneous narratives, dealing
with material more or less romantic, in a romantic spirit.
Some of these were no more than elaborations of episodes in
the longer works or modernizations of romantic novelle, but
others differed materially. In the earlier years, the sixteenth
century pastorals, such as the Diana of Montemayor, the
Faithful Shepherd of Guarini, the Galatea of Cervantes, and
The Pastorals of Julietta^^ of Ollenix du Mont-Sacre, enjoyed
a mild vogue. They were superseded by short romances in
which episodes from Moorish history or wild adventure among
the " Moslems " played the most important part. The
Moors very early figured in Spanish narratives, but a
keener interest was aroused by the romantic History of the
Civil Wars of Granada^^ which supplied many new incidents
and much information about the customs of Moorish life.
Writers of fiction were not slow to perceive the picturesque
value of the Moorish setting, and we find Mile, de Scudery
substituting, in Almahide, the Conquest of Granada for the
wars of classical antiquity. Of the numerous short works
dealing with this and other material, it will suffice to mention
a few suggestive titles chosen from a list numbering nearly
one hundred. Closely modelled after the Greek pattern are
" W. Raleigh, The English Novel, 1894, p. 105.
'^ Les Bergeries de Juliette, 1585-1598, was translated in 1607 as The Pas-
toralles of Julietta by Gervase Markham, and again as Honour's Academy by
Robert Tofte in 16 10. The latter is said to bear small resemblance to the
original. Cf. Upham, French Literature in England, p. 367.
** Historia de las Cuerras Civiles de Granada, presumably the work of
Gines Perez de Hita (c. 1604), free versions of which appeared in France
early in the seventeenth century.
38
Persiles and Sigismunda by Cervantes, Ariana^^ by Desmarets
de Saint-Sorlin, an interesting attempt to set a story in the
time of Nero, and the cumbersome Dianea^" of Loredano. Of
those in which the " Moslems " play a prominent role may be
mentioned The Liberal Lover,^'' by Cervantes, The Happy
Slave, by Gabriel de Bremond,^^ The Chaste Seraglian, and
Ibraham Bassa of Buda.
A series of three romances'* by the Italian Biondi combine
a little of this picturesque element with the more salient fea-
tures of such sentimental romances as Arnalte and Lucenda,
and at the same time reflect the growing tendency to weight
the narrative with sermons and political theory. To how
large an extent the feigned personages and didactic purpose
had come to be regarded as essential features of the Greek
romances, may be inferred from the translator's reference to
" Heliodorian poesie " as " that historical way of poetizing or
poetical way of historizing or displaying in the fained seeming,
"^ For a full summary and discussion of Ariana see the Preface to Les
Heros de Roman, ed. T. F. Crane, Athenaeum Press, 1907. It was translated
in 1634.
*" Translated in 1654 by Sir Aston Cokain.
"This was first translated in 1640.
"^ Gabriel de Bremond occupies such an insignificant place in French liter-
ature that little attention has been devoted to him. While still a youth he
was forced to seek refuge in Holland and there remained for the rest of
his life. His numerous works date between 1676 and 1708. Hattige,
appeared in 1676, Le Galant escroc ou le Faux Comte Brian in 1677, Apolo-
gie ou les Viritables Memoires de Madame Marie de Mancini in 1678,
Memoirs galants ou les Aventures Amoureuses d'une Personne de Qualite
in 1680, and a version of Guzman d'Alfarache in 1695. The Double Cocu
and the Heureux Esclave ou les Aventures du Sieur de la Martinidre 1708,
are attributed to him. Grand Dictionnaire Universel du xix sikcle, La-
rousse. According to the English translations, The Pilgrim and the Per-
plexed Prince, are by Bremond.
" Eromena : or Love and Revenge, Donsella Desterrada, or the Banished
Virgin, Coralbo, a new romance in three books, translated in 1632, 1633 and
1655 respectively by (according to Fry) "Jasper Hey wood." According to
Thompson Cooper, D. N. B., Jasper Heywood died in 1598. It follows that
the Jasper Heywood of literary repute could not have translated the ro-
mances, and it seems wiser to identify the " J. H." on the title-page with
the James Howard to whom Howell wrote a letter on his translation of
Eromena, Oct. 6, 1632, see Familiar Letters, ed. I. Jacobs, I., 329.
39
unfained adventures and action . . . embellished more fre-
quently with ethicall solidity than superficial rhetorick."
The English with few exceptions confined themselves to
translations, or rather redactions, for in many cases they
showed considerable originality in deviating from their texts.
Decidedly the most delightful variation is the satirical or
burlesque version of Voiture's Alcidalis and Zelide under the
title Zelinde, an excellent new romance,^" which a certain
" T.D." claimed to have translated " from the French of M.
Scudery." Such life and vigor has this little piece that M.
Jusserand calls it an original anti-romance. Voiture's plot
was most ingenious in its extravagance, and " T.D." rendered
it in a style worthy of the matter, and further spiced it with
critical asides. Thus, for instance, he describes the rage of
the cheated duke :
" He beat his head against the ground, tore his hair, and uprooted his
comely beard ! Let me not lye neither, perhaps beards were as much out
of fashion then as now, and I would not have posterity imposed upon in
matters of such weight; truth will go through the world.""^
And again, in calling upon his readers at the close of the
volume to conjure up the joy of the united lovers, he exclaims :
" Gentle Reader (I may safely call you so now, for I am sure you are
tired as well as I)."'=
Unfortunately, there were no other " T.D.'s " translating
romances. Peter Belon, B. Berenclow, Ferrand Spence and the
host of vague " Persons of Quality " were as free from satir-
ical humor as the authors could desire.
A half dozen English romances of this type deserve a word
of comment, less on account of their worth than of their rarity.
Probably others have been lost, for there are entries in the
Term Catalogues which suggest this kind of romance. The
plots are extravagant, the characters are absolutely colorless,
the descriptions ludicrously artificial, the emotional outbursts
"Contained in Mod. Nov., vol. vii. Is " T. D." Thomas Durfey? A
literal translation is contained in a Collection of Select Discourses, 1687.
"P. II.
»»P. 126.
40
rhetorical, and the style, the most ornate and fantastic imagin-
able.
The Cyprian Academy (1647), by Robert Baron dedicated
to " the Super-eminent Paragon of Art and Literature, the
truly noble James Howell ""^ is very short, the three books and
the masques at the close of each being comprised within one
hundred octavo pages. The loves of Flaminius and Clarinda
and of Arabella and Lycidas have their prototypes in such
French romances as Pandion y Yonice (1599) and I'Histoire
des Amours de Poliphile et de Damis (1602).®* Pandion and
Amphigenia; or the Coy Lady of Thessaly (1666) by John
Crowne is longer and shows traces of the heroic element, but
is indebted to the Arcadia for its " chief beauties." In the
diverting preface Crowne, like all the fashionable young
writers, informs us that this " trifling product of an idle hour "
is indeed " a hospital for lame conceits," but on the other hand
he assures us " it is no jay trickt up in others feathers nor pop-
injay to parrate others wit." But, alas, scarcely is there an
incident or effective passage that cannot be traced to another
source! The Eliana of John Pordage (1661), judging from
the remarks of Dunlop,"'* is a similar piece of fiction.
In all three romances the style is the most striking feature,
and probably the greatest pleasure of the readers was derived
from the elegance of the diction and the subtlety of the con-
ceits. A person was not killed, but "was sent to fetch an
errand in the dust," did not die, but " acted his life's epilogue."
It was difficult to maintain the pitch of elegance attained by
Crowne in the following quotation, but how ludicrous the
effect could be when the author permitted himself to mingle his
affected phraseology with colloquial directness is illustrated in
the ensuing one from The Cyprian Academy.
"^ Robert Baron, famous, or infamous for his plagiarisms, was born c. 1630.
He was a student at Cambridge and Gray's Inn. In 1647 he published
"EpoToiraiyviov: or the Cyprian Academy, and c. 1650, Pocula Castalia,
in verse. He was also author of Mirsa: a tragedy; Gripus et Hegio, and
Deorum Dona. Cf. Joseph Knight, D. N. B.
"For an account of these French romances see Le Roman Sentimental
avant L'Astree by Gustave Reynier, particularly pp. 188 to 198.
" Dunlop, History of Prose Fiction, ii. 363.
41
" And further he craved of her, that since it was not her pleasure so much
as to imparadise his form in her thoughts (for her eyes were something cast
aside upon the wall, showing a lofty kind of humility) but to make an
inanimate creature the object of his envy, that yet she would permit his
lips as Pilgrims from his heart to sacrifice the pure oblations of his love
upon her hand, that pure shrine of pureness, and there to inscribe its
image, that the beauties of her hand might challenge remembrance from her
thoughts, of the humblest of her servants, and the most passionately devoted
to her princely vertues.''
" Flaminius saluted him [the knight carrying off the unwilling lady]
with this challenge. It sufEceth not that thou hast subdued yonder Petitoes
of Mars, and captivated their Lady, Fortune will not sell her at so under
a rate, it remaineth that you vanquish me also before you enjoy her, the
wager of our contention, in whose defense my sword (blushing at thy
impieties) shall strike thy soul to Erebus, and compell thee to garter thy
hose with thy gutts. The strange Knight coyned this proud reply to this
unexpected defy ; I conceive it no hard taske to chastise thy insolency, for
T take thee for no other than a body animated by a Pythagorean Transmi-
gration, with one of those cowardly souls which I have even now sent to
seek new lodgings."
The four other romances we have to consider are products
of a later period and reflect the taste for the Spanish setting
and compHcated intrigue. In Diana, Duchess of Mantua, or
the Persecuted Lover (1678), R. Carleton reverted to the
sentimental romance of the sixteenth century, but unfortu-
nately he adopted the Chinese box system of narration, which
makes it impossible to disentangle the story of Diana and
Frederick. There are some remarkably good comic scenes,
modelled no doubt after those in the Argenis. The peasant's
account of the murder of the lady whom he found " as dead
as a red herring " is in its simple diction, coarse similes and
loquacious repetition, very realistic, and contrasts sharply with
the rest of the romance. In Taxila, or Love preferred before
Duty (1692) by " W. D., Gent.," the not unusual theme of a
persecuted princess refusing the favorite son of her step-
mother for a poor courtier is given an oriental setting.
Much more interesting than either Diana or Taxila is
Cynthia; with the Tragical Loves of Almerin and Desdemona,
advertised in the Term Catalogues for May, 1687, ^s " Done
by an English Hand." Evidently it long remained in favor.
The undated edition in the Bodleian is called the "eighth,"
42
and in the late eighteenth century a New England publisher
passed it off as an original American production.'* The
Heliodorian story of "Cynthia" is quite subordinated to that
of Almerin and Desdemona which is told by Almeryn to
Cynthia and her lover, whom he has carried off in one of his
piratical expeditions. His story resembles in many ways the
Spanish tales of the " cloak and sword " order, especially The
Liberal Lover of Cervantes. The plot is the usual one of love
contrary to the commands of parents, the desertion of the
hero and the consequent suicide of the heroine. The use of
portents is an interesting feature. For example, the following
passage immediately precedes the discovery of the clandestine
attachment which resulted in the hero's imprisonment and
his consequent desertion of the heroine.
" In my way homeward my spirits began to grow dull and heavy, my
mind became sad and melancholy, I found myself fearful, yet knew no
cause I had to fear. On the sudden three drops of blood distilled from my
nose, a hare thwarted my way, and a night-raven came croaking and with
her dismal note hovered over my head. This confirmed me in my augury
that something ominous and fatal did attend me."
The Entertaining History of the Amours and Adventures of
Solenus and Perrigonia, tht first story inThe Constant Lovers,'^''
by John Littleton Costeker belongs to the eighteenth century.
Perrigonia was brought up by her man-hating father on a
desert shore and kept in complete ignorance. When she was
about sixteen her father brought home a poor youth whom he
intended to kill the ensuing day. Perrigonia took pity on the
victim and eloped with him that very night. Shortly there-
after she was separated from her lover and trouble began, for
"The Bodleian edition is probably an eighteenth century reprint, for the
title-page is typical of that century: Cynthia; with the Tragical Account of
the Unfortunate Loves of Almerin and Desdemona. A Novel. Illustrated
with a Variety of the Chances of Fortune: moralized with many useful
Observations. Done by an English hand.
The American edition, of 1798, is mentioned by Miss L. D. Loshe in
The Early American Novel, New York, 1907, p. 17, n.
The Constant Lovers; being an entertaining history of the amours and
adventures of Solenus and Perrigonia, Alexis and Sylvia. By John Littleton
Costeker. London, 1731.
43
to poor Perrigonia, who had "never seen mortal other than
her father and lover," all cavaliers looked alike, and she be-
came involved with numberless admirers. All sorts of diffi-
culties arose from her general state of ignorance and " inno-
cence." This very curious little romance was probably intended
to satirize the current views of the charms and advantages of
the "state of nature."
In 1680, romances were no longer fashionable, yet for years
inferior works of this general type were written. Such
eighteenth century writers as Mrs. Rowe, Mrs. Barker, and
even Mrs. Haywood, took occasion to praise the purity of
the purpose and ideals of the romances as opposed to the
lewd novels of their own day. Mrs. Barker, in her endeavor
to restore the romance to its old prestige, herself contributed
several mediocre examples.''* But the day of the affected
court romances had passed — ^the new generation demanded not
less sentimentalism or romanticism, but a closer reproduction
of actuality.
The " Anti-romances "
The " anti-romances " form a large and heterogeneous
group, which for purposes of discussion, it seems wise to limit,
somewhat arbitrarily, to those narratives animated by a con-
sciously anti-idealistic and anti-romantic spirit, thus excluding
that large group of narratives which though essentially real-
istic are not satires of the romantic form or spirit. Of the
anti-romances, as here defined, there are three clearly differ-
entiated types : the comic romance, in which the serious
romance is burlesqued by representing the idealist clashing
with the stern facts of actuality; the picaresque miscellany,^'
in which the hero, or rather anti-hero, is a rogue in service
and the theme his various rogueries ; and finally, miscellaneous
satires.
'"Infra, p. 145.
"' Cf . F. W. Chandler, The Literature of Roguery and Romances of
Roguery, Pt. i, "The Picaresque Novel in Spain." These two works treat
the whole matter so exhaustively that the present writer has merely sought
to show the relation of the rogue story to the novel of manners and senti-
ment.
44
To the first of these groups, the comic romances, belongs
the celebrated Don Quixote^"" of Cervantes, upon which all
succeeding romances of the type were more or less closely
modelled. That delightful work is too well-known to require
comment, but in passing, we may note that its rambling struc-
ture and the introduction of totally irrelevant stories were
the features most easily imitated. The popularity of Don
Quixote was immediate, and as great in France and England
as in Spain. It was left for France alone, however, to pro-
duce worthy successors. Sorel in Le Berger Extravagant
(1628), and more particularly in Polyandre (1648), dropped
the pure burlesque, and presented with much grossness, types
and episodes which he had observed among the lower classes.
Furetiere in Le Roman Bourgeois (1666), and Scarron in
Le Roman Comique (1651), showed the possibilities of
bourgeois material; and finally Lesage, following the Histoire
Comique de Francion (1622), of Sorel, combined the comic
romance and picaresque miscellany in his inimitable Gil Bias
(1715-35). In addition to these notable works, there were
many inferior burlesques, such as the lively Bussy-Rabutin's
L' Histoire Amoureuse des Gaules (1665), and Perdou de la
Subligny's La Fausse Clelie (1670). Practically all the
French productions were translated into English: — The Ex-
travagant Shepherd, in 1654; Francion in 1655; The Comical
Romance in 1670; The Mock Clelia in 1678; and the Gargan-
tua of Rabelais^oi in 1653, but none of them rivalled the Don
Quixote in popularity. Cervantes's masterpiece, or rather the
first part of it, was translated by Shelton in 1612, the second
part was added in 1615, and a complete edition printed in 1620.
A new version was made by J. Phillips in 1687, and throughout
the century there were reprints, abridgments and chapbooks.
Popular as statistics would indicate the comic romance to
have been, English authors were not stimulated to compete, —
perhaps the very abundance of the foreign narratives checked
""£Z ingenioso hidalgo Don Quixote de la Mancha, Ft. i. Madrid, 1605,
Pt. ii, 1615, Avellaneda's continuation appeared in 1614.
™For a discussion of Rabelais in England, see Upham, The French
Influence in English Literature, Ch. v, p. 219 sq. It contains a full account
of the translations up to 1660.
45
orginal endeavor. Whatever the cause, the fact remains that
there are but three very inferior EngUsh specimens, — Don
Juan Lamberto (1649-1662), which has been discussed with
the chivalric romances ; Wit amd Fancy in a Maze by S. Hol-
land (1656),^°^ and The Essex Champion, or the Famous His-
tory of Sir Belley of Bellerecay and his Squire Ricardo (c.
1685). The immediate influence of the comic romances on
English creative art is to be found in the drama, in the satires,
and indirectly, in the tone of the short realistic tales or
"novels," but their really great influence was first exerted in
the eighteenth century, when Fielding, Smollett, and lesser
writers infused the material drawn from the romances, the
new novel of manners, and the narratives of roguery and ad-
venture, with the robust and wholesome, if somewhat coarse,
humor of Cervantes, Scarron, and Lesage.
On the whole, even less influential were the romances of
roguery or picaresque miscellanies, which form the second
group of anti-romances. " As conceived in Spain and ma-
tured in France, the picaresque novel is the comic biography
(or more often autobiography) of an anti-hero who makes his
way in the world through the service of masters, satirizing
their personal faults, as well as their trades and professions.
It therefore possesses two poles of interest — one, the rogue and
his tricks; the other, the manners he pillories."^"^ In Eliza-
bethan literature, this type of fiction reached a considerable
degree of perfection, as is attested by Nash's Unfortunate
Traveller; or, the Life of Jacke Wilton (1598), Breton's Mis-
eries of Mauillia, the most unfortunate Ladie that ever lived^"^''
(1599), Chettle's Pierce Plainnes seaven Yeres Prentiship
(1595), and such allied forms of rogue Hterature as the tracts
of Greene and Dekker. Yet it was not long before the native
works were completely superseded by the continental: — La
'"^ Later reprinted as Romancio-MasHx in 1660, and still later as The
Spaniard; or Don Zara del Foga, translated from the Spanish by Basilius
Musophilus in I7i9-
"' Chandler, Literature of Roguery, i. 5.
"'•No. 4 of The Wil of Wit, Wit's Will or Wil's Wit, Chuse you
Whether. Compiled by Nicholas Breton, Gentleman, IS99- Reprinted
in 1606 and ed. by J. O. Halliwell-Phillipps in i860.
46
Vida de Lasarillo de Tormes was translated in 1568-9 andl
reprinted at least twenty times by 1740; La Desordenada
Codicia de los Bienes Agenos appeared in 1638, as The Sonne
of the Rogue, or Politick Theefe; Guzman de 'Alfaradhe,
first printed in English in 1622, went through fully a
dozen editions in our period. During the years from 1610,
the date of Dekker's per se 0, to 1700, there were only
three or four English contributions: The English Rogue by
Head and Kirkman, an inferior rifacimento of all the tales
of trickery current at its date of publication (1665); Kirk-
man's Unlucky Citizen Experimentally Described (1673),
which differs from the norm in substituting a poor tradesman
for the rogue in service; Teague O'Divelly; or the Irish Rogue
(1690), a cheap tract; and The Dutch Rogue, or Guzman of
Amsterdam (1683), a wretched copy of the Spanish and pos-
sibly a translation. Picaresque material appeared in many
of the novels of intrigue, such as Mrs. Behn's Fair Jilt, in
the disgusting memoirs of noble rakes/"* as for example, in
such translations as Gallant Memoirs, Count Brian, Adven-
tures of a Man of Honour, and finally, in reformative tracts
and narratives of a popular nature, of which the best example
is Bunyan's Life and Death of Mr. Badman. The form, but
not the matter of the picaresque is utilized in a curious little
work, The Compleat Mendicant (1699) which recounts the
adventures of " an unfortunate gentleman " as a student at
Oxford, as a follower of a divine, as a teacher and as a
shepherd. The detail, the illusion of actuality, the insistence
on the literal truth of the events described, the earnestness
and common-sense morality have led the compilers of the
British Museum Catalogue, following earlier bibliographers,
to attribute it to Defoe, but such authorities as Lee, Aitken,
and Professor Trent have rejected it. Whether or not Defoe
was the author is of little moment for the Compleat Mendicant
had no imitators, although, curiously enough, it was reprinted
in Dublin a generation later. To quote Professor Chandler
once more : " The romance of roguery languished, to be revived
only in the second decade of the eighteenth century by two
^"^ Infra, Chapter II.
47
forces. One was the naturalism, and character-drawing of
Defoe; the other was the literary inspiration of Lesage.''^"'
Yet Defoe cannot be classed with writers of picaresque ro-
mances, for his narratives of roguery were developed from
the popular criminal biographies rather than from the Spanish
literary form, and differ from the latter not only in structure
and in emphasizing character instead of incident, but in being
quite free from the cynical anti-idealistic spirit.
The remaining anti-romances, which constitute the third
group, are of no distinct genre, but are narrative satires of
many varieties. As has already been stated, there were a few
imitations of the Satyricon of Petronius, such as the Euphor-
mio of Barclay, and the Pantaleonis Vaticinia of John Hume,
but these rare Latin works, accessible only to the learned, were
uninfluential. More important are the descriptions in which
a place, institution, person, or custom is caricatured in a lively,
ironical, and almost invariably scandalous manner. Such for
example were The Academy of Love, describing ye Folly of
Younge Men and ye Fallacy of Women (1641), a Petronian
satire of the cult of Platonic Love; The Ramble j^"" The
Adventures of Covent Garden in imitation of Scarron's ' City
Romance''^"'' (1699); the graphic Amusements Serious and
Comical Calculated for the Meridian of London^"^ (1700);
Comical Views of London and Westminster (1705) ; The Mall
(1709); Description of Epsom in a Letter to Eudoxia^"^^
(171 1 ), all ostensibly in the manner of Scarron; a Comical
Description of a Nunnery (1700), doubtless provoked by the
^""Literature of Roguery, i. 229; ii. 284.
™ Chandler, The Literature of Roguery, ii. 150, gives the date as 1631,
and attributes it to George Fidge, author of an account of a criminal
named Hind, under the title of the English Guzman. In the B. M. Cata-
logue it is listed as anonymous and the date given as 1730.
"" The author really followed Furetiere's Roman Bourgeois.
"'By Tom Brown and reprinted with his Collected Works in 1707-08,
171S. 1719-20, 1727, 1744, 1760. The Amusements are really a free and
lively translation of Dufresny's Amusements, in which London has been
substituted for Paris. Brown's " Indian " describes the people he meets
and the resorts he frequents almost as vividly as Defoe, but his grossness
and savage satire are most repellant.
"" By John Toland.
48
Letters of a Portugese Nun; and the journalistic London Spy
( 1703-09), by Ned Ward. Besides these descriptive narratives
tiiere were character-sketches Hke the Drudge, or, the Jealous
Extravagant (1672); The Extravagant Poet (1682); The
Reformer exposing the Vices of the Age in Several Charac-
ters (1700); culminating in "The Rake," the "Pedant," and
"The Coquette" of Spectator fame. Finally, there were proph-
ecies and visions usually more or less political in nature, such as
The Man in the Moon telling Strange Fortunes to the English
People (1609), and The Highland Prophecy (1712). The
only example of this class which has any claim to literary
merit, or which attained enough popularity to be influential,
is the Spanish Visions and discourses, concerning abuses, vices
and deceits in all offices and estates of the world by Quevedo y
Villegas^"' which, first translated into English by L'Estrange
in 1667, ran through twelve reprints by 1745, besides being
burlesqued in verse (1702), and in the New Quevedo, or,,
Visions of Charon's Passengers (1702).
This brings us to the end of our survey of the anti-romances,
though by no means all of the works have been mentioned.
Nevertheless, the content, spirit, and structure of the different
types are sufficiently apparent to enable us to judge of their
contribution to the development of the novel of manners.
The comic romances, as we have seen, provoked no worthy
imitation before Fielding; the picaresque miscellany as a dis-
tinct genre died out except in sporadic instances ; the various
satires died a natural death or were merged with other contrib-
utory forms. The great contribution of the anti-romances,
then, was not so much actual material or structure, as the train-
ing of readers and writers of all classes to appreciate the
humorous or comic view of life, the cultivating of a taste for
robust animalism as opposed to the etherial sentimentalism
of the romances, the revealing of the possibilities of low life
and bourgeois material, the realistic depiction of a definite, con-
'" Sueiios y Discourses de verdades descubridoras de Abusos, Vicios y
Enganos en todos los Oficios, y Estados del Mundo (1627), by Quevedo
y Villegas. The author's Buscon was translated in 1657 and by Capt. John
Stevens in 1707.
49
Crete background, and the developing of a vigorous, colloquial
style for purposes of narration, although not as yet for the ex-
pression of emotion. The anti-romantic fiction, in its reaction
from the idealistic, reflective, and subjective romances, became
too cynical, too gross, and too objective. The novel of man-
ners lies between the two extremes, and already there were
signs of its development. In the Compleat Mendicant there is
a reaction against indecency and immorality and a recognition
of the ordinary good man as a possible hero. And, on the
other hand, realism is creeping into the romances, in the shape
of "portraits," allegory, and allusions to contemporary events.
CHAPTER II
THE, NOVEL
(160O-1700)
The novel as the term was used in the seventeenth century
signified merely "a short tale, generally of love,"^ and was
applied to all narratives which seemed short in comparison with
the folio romances.^ In the collection of Modern Novels^
published in 1692, fully one fourth of the stories are romances,
one, The Emperour and the Empire Betrayed, is a.-po\iticaltract,
another, Instructions to a Young Nobleman, is a manual of
behavior, while nearly one half the last volume is occupied with
the Dialogues of the Dead. Thus, were we to accept a defini-
tion of the " novel " based on the loose usage of the seventeenth
century, we should have to consider, in addition to many di-
verse types of fiction, much extraneous material. Although
there was no generally recognized limitation to the use of the
term 'novel,' there were several sporadic attempts to distin-
guish between the novel and other forms of prose narrative.
Congreve made a unique effort to differentiate between the
novel and the romance in the introduction to his Incognita.
" Romances are generally composed of the constant Loves and invincible
Courages of Hero's and Heroines, Kings and Queens, Mortals of the first
Rank, and so forth: where lofty Language miraculous Contingencies and
impossible Performances, elevate and surprise the Reader into a giddy
Delight, which leaves him flat upon the Ground, whenever he gives off,
and vexes him to think how he has suffer'd himself to be pleased and trans-
ported, concern'd and afflicted at the several Passages he has read. . . .
^S. Johnson, Dictionary of the English Language. Reprint of 1773. An
interesting discussion of some of these novelettes from the point of view
of the evolution of the short story is to be fotmd in H. S. Canby's The
Short Story, IH., vii. ii 7-1 77.
^ Cf. R. Steele, The Tender Husband, Sc. 2, Act IV., " though our amours
can't furnish out a romance they'll make a pretty novel."
' See Bibliography, under " Collections."
50
51
Novels are of a more familiar nature; come near to us and represent to
us Intrigues in practice, delight us with Accidents and odd events but not
such as are wholly unusual or unpresidented, such as not being so distant
from our Belief bring also the pleasure nearer us. Romances give more of
Wonder, Novels more Delight. And with reverence be it spoken and the
Parallel kept at due Distance, there is something of equality in the Propor-
tion which they bear in reference to one another, with that between Comedy
and Tragedy."
On the other hand, the distinction between the novel, a ficti-
tious narrative, and the history, an authentic chronicle, while
nowhere clearly expressed, was generally recognized. The col-
lected works of Mrs. Behn and Mrs. Haywood, for instance,
are divided on this basis into " novels and histories," and such
titles as The Amours of Philario and Olinda, or The Intreagues
of Windsor. A Genuine History, are common. 'At the same
time, purely fictitious tales were called " histories," and in some
instances both terms were employed on one title page, as The
History of the Loves of Lysander and Sabina: a Novel.
Neither of these distinctions can be considered satisfactory,
and, as some limitation is necessary for convenience and con-
ciseness in discussion, we shall arbitrarily confine our attention
to those narratives of a fictitious nature in which the realistic
element predominates. This leaves for our consideration ap-
proximately one hundred novels of which less than a quarter
are native works and fully two thirds translations or adapta-
tions from the French.
During the first fifty years of the century the Italian novelle
of Boccaccio, Bandello, Cinthio, and their French imitations by
Belleforest and Margaret of Navarre were practically dis-
placed by the long sentimental romances. In fact, brief tales,
if we exclude the short romances and the novelle interspersed
through the longer works, were printed only about a dozen
times between 1600 and 1660.* During the later years of
*The Decameron was reprinted three times (1620, 1625, i6ss-S7) ; The
Exemplary Novels of Cervantes in various combinations appeared in 1638
and 1640; the Heptameron of Margaret of Navarre in 1654; Machiavelli's
The Divell a Married Man in 1647, and a seemingly original production,
Triana, or u, Threefold Romanza, in 1654 and again in 1664. There were
also, two quaint and vulgar English collections, The Tinker of Turvey,
reprinted in 1608 and 1630, and Westward for Smelts, in 1620. The former
first appeared in 1590, the latter probably goes back to 1603.
52
the century, on the contrary, there was a great demand for
short realistic narratives, and we find EHzabethan versions and
contemporary modernizations of the Italian tales filling second
class collections, such as A Choice Bamquet of witty jests, rare
fancies, and pleasant novels (1665), The Delightful Novels
(1686), The Banquet for Gentlemen and Ladies (second edi-
iton, 1703), The Power of Love in Seven Novels (1720) by
Mrs. Manley, the Winter Evening Tales (1723), and Wit in
all Shapes (1734), in which deceived husbands, seduced heir-
esses, cheating gallants, and miserly uncles figure largely in
plots too coarse to permit discussion. The directness and
rapidity of the narratives may be gathered from the following
speech made by a nameless heroine to a passing hero who
happened to rescue her from death at the hands of her wicked
uncle.
" Sir, I never inquired whether you was married or no, nor was it a
question ever in my thoughts before ; if you are not and will accept of my
person with the Fortune that attends it, I hope to be happy in your em-
braces." He accepted.
These however, differed widely from the fashionable novels
of the seventeenth century. The Italian novelle were in prac-
tically all instances the point of departure, but the Spanish and
French writers wrought fundamental changes before the brief
tale was revived in England. The first novels to regain
popular favor were, naturally enough, the romantic Spanish
tales, many of which, indeed, hover on the borderland of pure
romance.
Novels of The Cloak and Sword
Stories of crossed loves and struggles between love and duty
were favorite themes with the Spanish. A much used formula
was that of the constant loves of two young persons, betrothed
under compulsion to others and upon the discovery of their
clandestine attachment summarily separated and most harshly
treated. Endings differed; the lovers might successfully elope,
or they might both be killed in the attempt, or the hero might
yield to his hard-hearted guardians and the heroine die of
53
grief, and so on. Almost equally popular was the combination
of the seduction and crossed love motifs in which the deserted
girl pursued her recreant lover. The difference between the
Italian and Spanish novels is, however, not so much a matter of
plot as of treatment, for whatever the plot, the latter all possess
the many incidents, surprises, duels, mistaken identities, and
picturesque settings, which characterize the drama of the Cloak
and Sword. The most artistically perfect stories are to be
found among the Exemplary Novels of Cervantes — The Two
Damsels, The Force of Blood, The Little Gypsy, The Spanish-
English Lady — but they are by no means the most typical, for
they are much shorter than the average and almost unique in
utilizing the every day life of the working classes as a setting
for romantic and aristocratic love tales. Such rather picar-
esque novels as The Loving Revenge, or Wit in a Woman;*^
The Lucky Escape, or the Jilt Detected; The Witty Extrava-
gant, or, The Fortunate Lover, and the French imitations of
the Spanish, such as The Pilgrim by the prolific Bremond and
the Spanish Histories of the Countess D'Aulnoy are perhaps
more nearly representative. The Exemplary Novels were very
popular in England. They were translated as a whole by
Mabbe in 1640 and reprinted in 1694, 1708 and 1728. Indi-
vidual tales, frequently without any acknowledgment of the
author and under a different title, appeared much oftener in
collections such as Four Tragicomical Histories of our Late
Times, i. e.. The Force of Blood, The Spanish^English Lady,
The Lady Cornelia and the Two Damsels (1638), The Annals
of Love (1672), and The Spanish Decameron (1687).
English stories of this nature are few in number and poor
in quality. Triana; or, a> Threefold Romansa of Mariana,
Paduana, and Sabina made its appearance anonymously in 1654,
but in a reprint of 1664 it is attributed to Thomas Fuller.
Mariana and Paduana are conventional stories of intrigue with
romantic accessories and a picturesque Spanish setting.
Sabina^ has the more unusual theme of a wife brought to
*" This is a translation of " El Amor en la venganga " from Tardes Entre-
tenidas (1625) of Alonso de Castillo Solorzano, author of La Garduna.
' Sabina was induced by her husband's implicit confidence in her virtue
to confess to him her amour with the wicked Niclokaya. That disappointed
54
repentance by a kind and virtuous husband. The intrigue,
however, does not center about, that interesting point, but about
the just punishment of her wicked lover.
Less moral and more consciously wrought is The Player's
Tragedy, or, Fatal Love, a new Novel (1693), by an anony-
mous, and presumably juvenile, writer. The author, after
stressing the dignity and worth of players as a fit subject,
explains that "Tis the fatal end of their amours, not their
lives that I here pretend to attempt in this novel, having
furnished myself with the best information I could get, to
render it perfect and satisfactory. ... I do not tell the head
and original of the heroine. I propose only one great action as
my aim." After such a clear preface and deliberate acceptance
of the laws of the pseudo-classic tragedy the ensuing medley of
crossed loves is disappainting.*" The author was interested
not in the intrigue, but in the character of Montano, and much
of the clumsiness of the story results from his endeavors to
enable the reader to enter into the hero's emotions and
thoughts. The vacillating Montano is strongly reminiscent of
Hamlet but the monologues and the chorus go back to Greek
tragedy. Poor as it is, The Player's Tragedy is an interesting
precursor of the subjective character study.
lover resolved to get revenge, and to that end purchased the assistance of
the Abbot. Through the connivance of the latter, Sabina was seized at the
confessional and thrown into the deep abbey cellar to die of starvation.
Several days later she was found in a dying condition by a neighbor (who
happened to be excavating at that end of the Abbey), and carefully nursed
back to life. The precaution was taken, however, to keep the matter abso-
lutely secret. In the meantime, the villains took every means to fasten the
crime of murdering the woman upon her husband. Finally, they brought
the matter to court and would surely have won their case if they had not
been suddenly confronted by Sabina, and upon the strength of her story,
themselves convicted and punished.
' Bracilla, wife of Montano, a soldier, loved and was loved by the actor
Monfredo. Montano, though loved by Caelia, remained loyal to Bracilla.
Greatly perturbed by the discovery of his wife's amour, racked by divers
passions, all of which he disclosed in sententious periods to a couple of old
men, who replied with lengthy moralizations, he finally killed his rival and
fled. And thus the story ends, leaving the reader to imagine what finally
became of Bracilla, Montano, Caelia and the long suffering wife of Monfredo.
55
The Brothers: or Treachery Punished. Interspersed with
the Adventures of Don Alvmez, Don Lorenzo and . . .
Mariana, by "a Person of Quality" bears the date 1730, but
probably belongs to a much earlier period. It resembles such
fifteenth century romances as Arnalte and Lucenda' in having
the stories told in a gloomy cavern under the auspices of a
mysterious and melancholy stranger.
Historical Novels
A romantic glamour also attached itself to the historical
novels. These the French novelists elaborated from the brief
Italian accounts of historic and pseudo-historic episodes of a
more or less scandalous character by introducing Spanish in-
trigue, precieuse discourse, Parisian manners, and now and
again, a vague intimation that contemporaries might be dis-
covered under the mask of historic names. In the majority
of the thirty and more historical novels translated into
English, historical personages are the center of the action, but
in a few rare instances the history serves as a setting for the
love story of more or less imaginary characters. The Princess
of Cleves immediately comes to mind, but this little masterpiece
by Madame de La Fayette is too well-known to require com-
ment and too superior to be regarded as in any way typical.
Although it was translated, reprinted once or twice, and crudely
dramatized by Lee,' its careful psychological analysis, high
moral tone, idealism, and emotional restraint, appealed neither
to the readers nor to the writers of the Restoration. Most of
the historical novels were no more than elaborations of cele-
brated incidents and familiar traditions involving illustrious
characters of the past, and more particularly of the two or three
' The original Spanish version, Tractado de amores de Arnalte e Lucenda
enderescado a las damas de la reyna nuestra senora by Diego Hernandez de
San P(i)edro appeared in 1491. An English version of the Italian transla-
tion was made as early as 1573 by Claudius HoUyband. In 1608, it was
re-translated and published with an Italian text by C. Desainbrensis in The
Italian School-Maister. It was reprinted, without the Italian, in 1660 as
Arnaldo, the Injured Lover. For a discussion of the romance and its influ-
ence see Reynier, Le Roman Sentimental avant I'Astree, p. 66 sq.
'The Princess of Cleve, by Nathaniel Lee, 1689.
56
centuries immediately preceding. Sometimes, however, epi-
sodes were fabricated to explain an obscure point or throw new
light on a particular character or episode.' A fairly accurate
idea of the range, method, and spirit of this type of fiction may
be gathered from a few specimens dealing with English
subjects.
Most amusing are two stories having for their theme the
flirtations of Queen Elizabeth with Essex,^" Leicester and num-
erous other courtiers. On the whole, they were hostile to the
English heroine, not hesitating to call her a heretic, a usurper,
and an agent of Anti-christ. Most damaging of all to the
Queen's character is the Duke of Alangon which represents her
as the murderer of her half-sister, the unacknowledged daugh-
ter of Catharine of Arragon.
According to this tale, Alengon was the Queen's real favorite, and him
she had determined to marry, when by a deliberate blunder on the part of
the jealous Leicester, she discovered the Duke's passion for her ill-treated
half-sister. The wily Elizabeth dissembled her chagrin, pretended repent-
ance for her former behavior, and, as an earnest of greater good to come,
made her sister a present of a pair of gloves, which she had carefully
poisoned. The unsuspecting Marianne at once tried them on, and within a
few hours had fallen a victim to Elizabeth's perfidy, but not before she had
acquainted her lover with the cause of her death. The Queen thus got
rid of her rival, but she did not attain her end, for the heart-broken Duke
•' reflecting on the dangers ensuing from so perfidious a character," speedily
returned to his native land,
' The theory of the matter is clearly put by the " Person of Honour "
who compiled or translated the Annals of Love (1672), a series of very
brief stories drawn from Spanish, English, and French history.
" When the history of Spain tells me a sovreign Countess of Castile fol-
lowed a poor Pilgrim into France, I cannot imagine things could run so
high in a moment ; they must see one another, they must meet, and discourse,
before she could come to so strange a resolution. I have augmented the
history therefore with several enterviews and amorous dialogues of mine
own; if they are not what they really spake, they are at least what they
might."
^"The Earl of Essex and Queen Elisabeth, 1650. Reprinted in 1680 and
contained in Mod. Nov., vol. i. The Duke of Alangon and Queen Elisabeth,
Mod. Nov., vol. i.
57
Less lively is a narrative dealing with an earlier period in
English history. The Amours of Edward IV}^ which purports
to be an account given by the Queen-Mother to her daughter.
Curiously enough it makes no reference to the celebrated Jane
Shore. A more extraordinary production is Mack-Beth^^ .
(1708), which by making license the ruling passion of the hero,
of his villainous wife, and of all their associates, reduces the
old legend to a series of gross intrigues. In The English Prin-
cess, or the Dutchess Queen (1678), we have a Restoration
version of the story Mr. Major has familiarized to us in When
Knighthood Was in Flower,^^ and the two afford an enlighten-
ing contrast. In both the interest centers around the love
affairs of Mary and Brandon,^' but in the former these are
complicated by the gross amours of Henry, Dorset, Suffolk and
other courtiers, and there is no attempt as in the later version
to idealize the characters or to elaborate a picturesque setting.
In short, there was no desire in this, or, for that matter, in any
of the novels dealing with historical personages, to escape from
the present to a glamour-covered past ; on the contrary, it was
an attempt to explain the past in the terms of contemporary
society.
The English produced only one work of this type, but many
of the translations are so elaborated and re-worked that they
bear little resemblance to the originals. The " Person of
Honour " who translated Don Heneriques de Castro,'^^ a series
" The Amours of Edward IV. An Historical Novel. By the Author of
the Turkish Spy, 1700. There is no evidence, to my knowledge, to indicate
that Marana, Midgley, Dr. Manley, or any person whose name is connected
with the Turkish Spy, c. 1698, was concerned with the narrative, so that
it may be a publisher's advertisement or, again, may be by Bradshaw or
some other hack-writer in Midgley's employ.
^ Hypolitus, Earl of Douglas, containing some Memoirs of the Court of
Scotland with the Secret-History of Mack-Beth. Translated from the
French of M. C. de La Mothe, Countess d'Aulnoy.
" When Knighthood Was in Flower, by Edwin Caskoden (pseud. Charles
Major). Indianapolis, 1896.
^ This same Brandon is the hero of the story in Boyle's English Adven-
tures (1676).
"Don Heneriques de Castro; or, the Conquest of the Indies. A Spanish
Novel. Translated out of the Spanish by a Person of Honour, London,
1685. In Mod. Nov., vol. i.
58
of interwoven love stories in which the scene shifts from
Europe to America, and which makes love, instead of lust of
gold, the incentive for the wholesale butchery of the Indians
during the conquest of Peru, stated very frankly in his preface
that he had greatly improved the novel, " by combining two of
the characters, continuing the story after the sacrifice of the
Indians, cutting down the details concerning the Italian wars,
and adding from other sources new incidents." Such a re-
vised translation almost deserves to be classed as an indepen-
dent production. English Adventures (1676) by a "Person
of Honour," generally supposed to be Roger Boyle, Lord
Broghill, is a very interesting example of the way in which the
Restoration mingled past and present, romance and cynical
realism, pastoral and court intrigue. The story opens with the
death of Henry VII. The new king upon the pretense of
retiring to mourn in solitude, escapes from court incognito, to
go hunting with his favorite Howard. The scene shifts im-
mediately to the hunt, which gives Boyle an opportunity to de-
scribe " Aurora and the beauties of her train." A passerby,
Brandon by name, hearing the baying of the hounds, turns
into the woods to join the party. As he hesitates which way to
ride, he sees a young couple sauntering along in true Arcadian
fashion and so engrossed in one another that they are unaware
of the approach of a huge stag. Brandon's shouts awaken
them to their danger, whereupon the lady faints and her
cowardly escort flees. Brandon rushes to the lady's side, and
at the same time Henry comes forward from the opposite
direction. The fair Isabella has scarcely recovered conscious-
ness when Howard appears and offers his good offices. All
three men promptly fall in love with the incomparable beauty,
and their relations become so strained that Brandon, who per-
ceives himself outclassed, tells the history of his life to divert
their minds and keep the peace. This proves to be precisely the
story of Otway's Orphan" (1680) . Isabella then tells how she
came to be wandering in the woods with the cowardly Good-
"Roden Noel, editor of the Mermaid edition of Otway, states that the
same story, or a similar one, forms the basis of an earlier play. The Hog
Hath Lost His Pearl (i 612-13), by Robert Tailor.
59
win, to whom she has been affianced by her father. Here there
is another break in the story, Isabella is married to the craven
Goodwin, and the interest shifts to the intrigues of Howard and
Henry with her. The King wins her affections, and to show
his implicit faith both in her and in his rival, appoints
Howard her guardian. The latter by over-assiduous watching,
angers Isabella, who in exasperation pretends to be in love with
a page. Henry being informed of this amour very nearly ruins
Isabella, but she saves herself by the common romance device
of proving the youth to be a girl who has assumed that dis-
guise, in the hope of winning the affection of Howard.
Veiled Histories, Pseudo-Journals, Etc.
The transition from scandal of the past to scandal of the
present was both natural and easy. Instead of writing directly
like the old Italians or our reporters, writers took shelter
behind feigned names, veiled histories, pseudo-memoirs and
the like. Least common are tales of romantic intrigue in
which the characters are given " feigned names." The best
representaitive is A Tragi-comical History of Our Own Times
under the Borrowed Names of Lisander and Calista trans-
lated from the French of Vital D'Audiger by a "W. D." in
1627, and twice reprinted and partly retranslated by 1652.
The secret histories are of many varieties. Some were
purely political, as, for example. An Historical Romance of
the Wars between the mighty Giant G. and the Great Knight
Nasonius (i. e., Louis XIV and William III). Others com-
bined politics, romance, and gossip in the manner of the
Perplex' d Prince, in which the King (Charles II) is depicted
as induced by his villainous brother (the Duke of York) to
deny the legitimacy of his son (the Duke of Monmouth).
Still others, such as the popular pseudo-letters of The Turkish
Spy^^ (1698), were discursive compilations of political and
social news. More notorious than these were the collections
of scandalous town gossip with a political animus, such as
The Secret History of Queen Zarah and the Zarazians ( 1705) ,"
'^ Infra, p. 106, u.
"Attributed to Mrs. Manley.
60
Mrs. Manley's The Secret Memoirs and Manners of several
Persons of both sexes from the New Atalantis (1709), Me-
moirs of Europe at the close of the eighth century. Written
by Egenhardus, secretary and favorite to Charlemagne (1710),
and Mrs. Haywood's Memoirs of an Island Adjacent to Utopia
(1725). In the New Atalantis, Astrea and deserted Virtue,
make a tour of the island under the guidance of Intelligence,
i. e. Scandal, who points out notable persons and recounts the
more important episodes in their lives. Sigismund II is
Charles II; the Prince of Tameran, James II; Jeanatin,
Mrs. Jennings ; the Marquis of Caria, the Duke of Marlbor-
ough, and so on. In Mrs. Haywood's Utopia, a stranger nar-
rates his experiences while viewing the island under the guid-
ance of Cupid, who incidentally gives him much information
about the social relations of the inhabitants both collectively
and individually. Many of the stories are similar to the
worst of the Italian novelle, and it is highly probable that much
of the indecent scandal of the period was made up out of
those old tales.
During the latter half of the seventeenth century no form
of literature was more popular than the gossipy biographical
narrative, whether it took the form of autobiography, biog-
raphy, journal-book, or memoir.^'* Howell, Loveday, Digby,
the Duke of Wharton, the Duchess of Newcastle and dozens
of others, recounted their experiences with the minutest detail
and an apparent endeavor to present the literal truth. Every
prominent prince, adventurer, general, pirate, and rogue had
his life chronicled. Count Tekli, Count D'Aubusson, Don
Carlos, Casimir, King of Poland, Captain Jones, Captain Hind
and Pirate Avery, were all made the heroes of sensa,tional nar-
ratives. Even in the most authentic of these works there was
bound to be an element of fiction, and in the majority "truth
was to advantage dressed" and facts modified to conform
more closely to romance. Sir Kenelm Digby,2° for example,
"°'' Cf. A. R. Burr, The Autobiography, A Critical and Comparative Study,
1909, esp. pp. 157-171, and Appendix B.
'"Private Memoirs, c. 1627. Quoted by Upham, French Influence in
English Literature, pp. 369-70.
61
deliberately wrought his courtship of Venetia Stanley into the
form of the fashionable romances, and the account of the
Life and . . . Piracies . . . of Captain Avery, both in the
anonymous 1700 version and the 1719 amplification by Defoe,
is practically wholly fabulous."^ In such narrations as Casimer,
King of Poland, great liberties were taken and many episodes
interpolated by the narrator. The translators in the same spirit
rendered their texts very freely and sometimes, as in the case
of the Memoirs of the Life and Adventures of Signor Rozelli,^^
a spurious part was added. From the semi-genuine biography
and memoir to the pseudo-biography and memoir is a natural
transition. Like the secret-histories they were utilized for
many purposes. The Memoirs of Mile, de St. Phale recounts
her attempted conversion by some Jesuits. Many were polit-
ical tracts. The Duke of Marlborough and Godolphin were
often satirized, the former as Prince Mirabel,'^^ the latter as
E — of G — d — ^n. Even the King was not free from this
form of personal abuse, if, as seems likely, he was the subject
of The Compendious History of George the Farmer. On the
other hand, these memoirs were often used as strong partizan
pleas, three, for example, having been written on behalf of
Harley. Such works, however, unless devoting considerable
space to the "amours" of the hero, were regarded as tracts,
rather than as novels. Gross personal gossip and slander fur-
nished the sole interest in such narratives as Amchirs of the
Sultana of Barbary (1680), i. e. the Duchess of Portland; The
Princess of Fess, or the Amours of the Court of Moroccc^
(1682) ;2* and The Amours of Messalina, late Queen of Albion
^ Modern Novels, vol. iv.
^ Done into English from the second edition of the French of the Abbe
Olivier (by D. Defoe?), 1709. There was original matter added in the
edition of 1713, and in 1724 a continuation appeared, for which no French
original seems to have been found.
^ The History of Prince Mirabel's (i. e. John Churchill, Duke of Marl-
borough's) infancy, rise and disgrace, with the sudden promotion of Novicus
(i. e. Harley), In which are intermix'd all the intrigues relating to those
adventures: as also the characters of the old and new favorites in the court
of Britomartia. Collected from the Memoirs of a courtier lately deceased.
3 pts., 1712. This is sometimes attributed to Defoe.
"' Modern Novels, vol. iv.
62
(1689). In the History of the Marechal de la Ferti;^^ Casi-
mer. King of Poland; The Cheating Gallamt, or Count Brion;^'^
and Gallant Memoirs, or Adventures of a Person of Quality,'^''
the element of personal slander has almost disappeared and we
find the " historians " utilizing the novelle and the drama. The
flippant aristocratic rakes who figure in most of these narra-
tives have much in common with the roguish picaros and are
distant precursors of the Lovelaces of the ensuing century.
These sensational compilations possess no artistic merits to
outweigh the essentially narrow and ephemeral character of
the subject-matter, but their closeness to actuality, familiar
style, vivid pictures, and pervading vigor were invaluable train-
ing in realistic narration. Particularly helpful to the develop-
ment of narrative art was the memoir, for by its very structure
it gave a fortuitious unity to the series of adventures and
afforded an excellent opportunity for the subjective analysis
and development of character. Furthermore, the authentic
works showed the writers of fiction how to produce the illu-
sion of truth by the use of abundant detail and a simple con-
fidential style.
The Novel of Manners
The Italian novelle of manners were in nearly all instances
stories of indecorous intrigues and cheats perpetrated by char-
acters of fixed types. The wife deceives her husband, the son
cheats his father, the maid betrays her mistress, the appren-
tice cheats his master, and we are called upon to laugh with
the cheater. "To the victor belong the spoils," and no sym-
pathy is wasted on the victim. The French retained the direct-
ness and clearness of their models, and, unfortunately, the
harshness and indecency as well, but by complicating and
elaborating the intrigue, by reproducing in detail the externals
of Parisian life, by introducing the superficial features of the
precieuse manners, and by the use of much dialogue and a
colloquial style, they wrought a great and fundamental change.
Slowly the set plots with fixed types yielded to stories drawn
^ Ibid., vol. vii. =' Ibid., vol. ii. " Ibid., vol. ix.
63
from actual life, and the characters began to assume indi-
viduality. The most notable advance, perhaps, is in the matter
of style. Essentially the slangy, yet withal witty, conversation
of the Smart Set, it has little aesthetic merit; but after the
endless periods and inane conceits of the romances, its life
and vigor are stimulating. These changes came about gradu-
ally. One writer combined Spanish romance with everyday
episodes and manners, another depicted unusual characters in
an old plot, another exploited new material but in a dull
wooden style, while another retold an old story in a style so
vivid as to give it new life. Most of these novels found their
way into English, but fortunately the English themselves wrote
a sufficient number to enable us to follow the development by
studying the native productions.
The Transition
Of the combination of the romantic Spanish intrigue with
prosaic contemporary manners, the English novels afford three
excellent examples. In 1693, appeared Virtue Rewarded; or
the Irish Princess,^^ by an anonymous writer and dedicated
" to Marinda from whom is taken the name and chief beauties."
Among the prisoners taken after the battle of the Boyne was
Marinda, who though " She ne'er saw courts, yet courts could
have undone." With this peerless country beauty the con-
quering general immediately fell in love, and she, by maintain-
ing her "virtue" so won his regard that he made her his
wife. Interwoven with this Richardsonian story is the
pathetic tale of Faniaca, a deserted Indian maid, one of the
earliest sentimental stories concerning the trusting and much
abused good savage. Other threads complicate the action, and
the whole is hampered by detailed descriptions of gross adven-
tures, the camp life of the soldiers, and lengthy disquisitions
on statecraft, contemporary politics, and morals. The style,
even in the scenes from camp life, is stiff and often ludi-
crously pompous.
Far more diverting is The Adventures of the Helvetian
''Mod. Nov., vol. xii.
64
Hero with the Young CoHuntess of Albania; or the Amours of
Armadorous and Vincentia: a Novel (1694).
Artnadorous, a handsome Switzer, sees in church the beautiful young
countess of Albania. Instantly both fall in love and promptly both begin
to pine away. Drusilla, Vincentia's maid, discovers the cause of her lady's
disorders, and immediately proceeds to " capture the man." Dressed as a
peasant, she ogles him in church, gives him mysterious, vague notes, and in
short, gets him thoroughly excited and bewildered. In the meantime, Vin-
centia frequents the church and leaves the rest to fate and Drusilla. Her
mother has an intuition that something is amiss and reads her a lecture on
the danger of clandestine attachments and the evil character of Switzers.
By artful lying Vincentia escapes detection, but the mother is so far from
being convinced that she whisks her daughter away to their country seat
early the next morning. The distressed girl now recalls a dream " both pleasant
and unpleasant," and, interpreting it to suit her desires, decides to write
frankly to Armadorous. After one or two epistles have been exchanged,
he commits the indiscretion of presenting both himself and his letters to
the dowager. Then follows an excellent scene between Vincentia and her
mother, in which the heroine declares the entire story a fraud and is forth-
with ordered to " deny it to his face." To this she gladly consents in
order to have the opportunity to talk with him, and, the mother being oppor-
tunely called away, she explains the necessity for deception and plans out
their future course. After many attempts, they succeed in eloping, are
forgiven by the dowager, return to her, and live happily for a short time,
all in accordance with the first part of the aforementioned dream. But
one unlucky day Armadorous inquires about the estate, for " no Switzer fights
where no money is." This enquiry greatly angers Vincentia, who, as it
turns out, had years before settled her estate on her mother. The lovers
quarrel, separate, and enter suits for divorce. Before the case reaches the
court, the hero is taken seriously ill, which leads him to repentance and
arouses a desire for reconciliation. He sends pitiful notes to the now
obdurate Vincentia, and as soon as he is well enough, returns to his wife,
but although he sings and pleads outside her window, he receives no re-
sponse. " So he wanders like ^neas from place to place, modestly telling
the story of his woes and always winning the sympathy of the ladies."
Indeed so strong does public opinion become that Vincentia finally takes
him back. " Which tale," concludes the author, " should be a warning to
quarrelsome lovers."
Less sprightly is the tale of the Unhappy Lovers; or, The
Timorous Fair One, being the Loves of Alexander and Mel-
lecinda (1694).
65
The perfect hero Artaxander® loves the incomparable beauty Mellecinda,
who reciprocates his affection. Her mother, with hardhearted perversity,'
prefers the foolish poltroon Lucidor. So the mother manceuvres very clev-
erly to have Artaxander given a distant army command, and, upon his receiv-
ing a slight wound, sedulously spreads the report that he has been killed.
Upon the receipt of the news Mellecinda falls very ill, but after lying
several weeks at death's door, improves sufficiently to be moved by her
mother to the country estate of the detested Lucidor. But alas for those
well laid plans ! Artaxander, his wound having been healed, passes, on his
way home, the estate of Lucidor, and with the assistance of his valet
obtains several interviews with Mellecinda. He urges her to elope, but
she hesitates and puts him off, and, before she makes up her mind, her
" indiscretion in staying abroad too late " leads to the discovery of the
clandestine interviews, which are thus brought to a summary close. Then
the mother, by bribing the valet and forging cruel notes from Mellecinda,
drives Artaxander to such despair that he seeks death in battle. Yet the
scheming mother does not succeed in marrying Mellecinda to her favorite,
for the night that Artaxander dies, at the exact moment that his soul is
leaving his body, he appears to Mellecinda in a dream, and, without waiting
for further tidings, she knows that " her lover is no more " and forthwith
enters a nunnery " to await her release from so cruel a world."
These three stories illustrate the transition from the ro-
mance to the idealistic novel of manners.^" The plots are
intrigues but not of the conventional type and our sympathy
is with the victims not the villains. The characters are not
heroic, not even markedly romantic; but, on the other hand,
they are not quite easy and natural. As for the style, it varies
from the rhetorical phraseology of the romances in the emo-
"* Throughout the story the hero is consistently called Artaxander instead
of Alexander.
* These novels in many ways resemble a group of narratives which
appeared in France about 1600 and are described in considerable detail by
G. Reynier in Le Roman Sentimental avant L'Astree, ch. xii, pp. 300 to
313. There is, so far as I have been able to discover, no record that Les
chasts ef heureux Amours de Clarimond et Antonide, by Escuteaux, Paris,
1 60 1 ; La Vivante Filonie, by Faure, Paris, 1605 ; or Les constant's et
infortunSs Amours de Lintason avec I'infidHe Palinoe, by de la Regnery,
Paris, 1601, were translated, yet the English works resemble them in so
many points that I feel they were in some measure indebted to them. M.
Reynier's description indicates that the plots were much simpler than in
the English stories and by omitting all mention of humorous passages, he
implies that humor was not present, or at least not so prominent a feature
as in the English examples.
6
66
tional outbursts, to bright colloquial diction in the dialogues.
They show also another influence which had much bearing
on the novel of manners, namely, that of the contemporary
comedy.
Narrative Comedies
Restoration comedy is remarkably readable. It depends for
its success not so much on its theatrical qualities as on the
clever manipulation of a complicated and artificial intrigue,
on the clashing of the incongruous, and on the brilliant
repartee of the dialogues. It is hard, cynical, superficial,
and often indecent, all of which characteristics it shares with
the old novelle, but it possesses a freshness and brilliancy all
its own. Moreover, this comedy held a certain prestige
and a well recognized status in the literary world. It was
natural, then, that the novelists working with the same mate-
rial, but in a form only partially developed and only beginning
to be recognized, should turn to comedy for suggestions.^*
The influence of comedy can be traced in practically all of the
novels of the period, but it is particularly evident in a small
group which may be called Narrative Comedies. The Helvetian
Hero might almost be so classed, for the humor is largely due
to the cross purposes of the characters and the verbal mis-
understandings. There are many episodes which would be
most effective on the stage. Take the amusing scene in which
Vincentia, having denied all knowledge of the letters Arma-
dorous had presented to her mother, was forced to deny her
letters to his face and to the satisfaction of the angry dowager
and the mystification of Armadorous, took the notes and
solemnly declared, " I swear I never wrote this (looking at one
the maid had penned)." These humorous bits, however,
are few and far between, and not the head and front of the
"^ Many of the Restoration comedies were based on the French novels ;
for example, A Fool's Preferment, by Durfey, is founded on The Humours of
Bassett, the same author's The Intrigues of Versailles, on The Double
Cuckold and The Amorous Jilt, Dryden's Assignation, or Love in a Nun-
nery, on Constance, the fair Nun and Scarron's Comical Romance, and his
Spanish Fryar largely on The Pilgrim.
67
whole, as in the case of some six short novels now to be con-
sidered.
The History of the Loves of Lysander and Sabina: a Novel
(1688), is a most entertaining story written in a manner truly
diverting.
Lysander, a soldier of fortune, upon being forbidden to marry the English
Sabina, went to Holland to divert his mind, and there met, and was com-
pletely charmed by Clarinda. He followed her to Spain, but their affection
was so intense that it exhausted itself ! He began to look for an excuse to
leave and she to urge her father to provide her with a suitable husband.
At this critical moment, he received a letter from the almost forgotten
Sabina and resolved to return to her at once, and at the same time, Clarinda
received word of her betrothal and orders to proceed immediately to the
family seat of her fiance. So it happened that,
" They both began their journey on the same day, and both under false
pretences. And though they had been very well content with the whole
truth, yet neither of them durst begin to declare. At parting they took a
very formal and composed leave, without the least transport or passion, at
which both wonder'd extreamly. After parting the only thing they were
each of them very solicitous about, was the great trouble and perplexity
which would seize upon the other when the mystery came to be revealed.
Lysander doubted how poor Clarinda would receive the news of his depar-
ture for England, and her greatest affliction was to think how he would
endure to hear of her marriage."^''
Four years later appeared Incognita: or Love and Duty
Reconciled by Congreve, who, with his usual affectation, wrote
under the pseudonym of " Cleophil." The preface in which
he so carefully distinguished between the novel and the
romance has become famous, and has already been quoted in
part. Proceeding from his general premise that " Romances
give more of wonder. Novels more delight," he draws an
analogy between fiction and the drama, and lays down certain
laws which he intends to follow in his novel.
" And with reverence be it spoken and the parallel kept at a due distance,
there is something of equality in the proportion which they bear in refer-
ence to one another, with that between comedy and tragedy. Since all
traditions must indisputably give way to the drama, and since there is no
possibility, of giving that life to the writing or repetition of a story that it
has in the action, I resolved in another beauty to imitate dramatick writing,
=°P. 13s.
68
namely in the design, contexture, and result of the plot. I have not observed
it before in a novel. The design of the novel is obvious, after the first
meeting of Aurelian and Hippolito with Incognita and Leonora, and the
diflBculty is in bringing it to pass, maugre all apparent obstacles within the
compass of two days. How many probable casualities intervene in oppo-
sition to the main design viz. of marrying two couples so oddly engaged in
an intricate amour, I leave the reader at his leisure to consider ; as also
whether every obstacle does not in the progress of the story act as subser-
vient to the purpose, which it at first seems to oppose. In a comedy this
would be called the unity of action ; here it may pretend tO' no more than
the unity of contrivance. The scene is continued in Florence from the com-
mencement of the amour; and the time from the first to last is but three
days."
Practically every critic who has discussed Incognita at all,
has censured it upon the ground that it fails to follow in
any way the rules the author laid down in his very interest-
ing preface, but bearing in mind the nature of Restoration
comedy, it seems to me that it exactly conforms to Congreve's
canons. It is, as might be inferred, nothing more nor less than
a series of amusing scenes connected by sprightly narrative.
The humor arising from the deliberate confusing of identities
and purposes and from the dramatic situations is heightened by
witty asides. It is quite apparent that Congreve visualized the
scenes, we feel he saw the actor as he penned such a descrip-
tion as the following:
" But Aurelian, as if he had mustered up all his Spirits purely to acquit
himself of that passionate harangue, stood mute and insensible, like an
Alarum Clock that had spent all its force in one violent emotion."
Undoubtedly much of the humor lies in the style and in the
very amusing digressions. Congreve was by no means the
first to make use of the digression ; we find it in Nash, in all
four of the novels we have just been discussing, as well as in
the burlesque Zelinde, but Congreve was the first to employ it so
largely and so consciously. His little digression on digressions
is delightful, and many of his short asides are quite in the spirit
of Thackeray.
" Now the Reader I suppose to be upon thorns at this and the like imper-
tinent digressions, but let him alone and he will come to himself; at the
which time, I think fit to acquaint him, that when I digress, I am at that
69
time writing to please myself ; when I continue the thread of the story, I
write to please him ; supposing him a reasonable man, I conclude him
satisfied to allow me this liberty, and so I proceed.'"'
And again,
" So that although Leonora was indeed mistaken, she could not be said
to be much in the wrong. I could find it in my heart to beg the reader's
pardon for the digression, if I thought he would be sensible of the civility,
for I promise him, I do not intend to do it again throughout the story,
though I make never so many, and though he take them never so ill."
Witty passages are so numerous that it is difficult to choose
what to quote, but the following burlesque will probably
suffice.
" At that (as Aurelian tells the story) a sigh diffused a mournful sweetness
through the air, and liquid grief gently fell from her eyes, triumphant
sadness sat upon her brow, and even sorrow seemed delighted with the
conquest he had made. See what a change Aurelian felt. His heart bled
tears and trembled in his breast, sighs struggling for a vent had choked
each other's passage up ; cold doubts and fears had chill'd'em as with a
sudden frost, and he was troubled to an excess ; yet knew not why. Well,
the learned say it was sympathy ; and I am always of the opinion of the
learned, if they speak first.""
The remaining narrative comedies, if they may be so called,
more closely resemble the French. The Generous Rivals; or
Love Triumphant (1716), is the best.
Vulpone, the avaricious uncle of the heiress Dorinda, has planned to
marry her to the wealthy Phylostratus, but she prefers the poor Paneretus,
and he the poor Caslia, cousin to Dorinda. In order to communicate with
Cselia, Phylastratus readily makes use of his favor with Vulpone to act as a
go-between for Dorinda and Paneretus. The lovers themselves are for a
while in ignorance of the real feelings and motives of each other and as
much fun arises out of their misunderstandings as out of the bewilderment
of old Vulpone. References to Spring Garden, Whitehall and similar places
give a good deal of local color.
The Style is colloquial and vigorous with occasionally such
vivid bits as this :
Phylastratus, seeing her come sailing towards him, as 'twere with a
brisk gale, immediately rose up in order to carry on the encounter with the
better advantage.
''P. II. "P. 97-98.
70
The Rival Mother (1692), deals with a popular French
theme in a conventional manner.
Asteria, a widow, had long been wooed by Tazander, who fell in love with
her daughter, Eliciana, who in turn was loved by Oxaris. The mother was
naturally grieved when Tazander asked for the hand of her daughter, but
seemingly consenting, substituted her own name in the contract. Eliciana,
though broken-hearted, determined to be obedient, and after much suffer-
ing was rewarded by Tazander's renouncing her in favor of her mother.
The Reformed Coquet by Mrs. Davys, which did not appear till
1724, shows the influences of the eighteenth century didac-
ticism, but in many ways resembles Incognita.
Amoranda, a wealthy heiress and a great flirt, takes pleasure in the
attentions of Lofty and a host of Flutters and Froths. A young lord, the
guardian's candidate for her husband, goes to live in the young lady's
establishment in the guise of an adviser and dear friend of her guardian.
In the course of a few weeks, he rescues her from many questionable
situations, shows her the wickedness and frivolity of her numerous suitors,
and completely wins her regard, whereupon he takes off his disguise and
reveals the ideal lover. This is one of the earliest appearances in fiction
of the perfect prig of which Sir Charles Grandison is the consummate
example.
In style, scenes, names and general effect it is allied to the
narrative comedies, while in purpose and spirit it suggests the
novels of Richardson, and the edifying tales of Mrs. Rowe.
The Portuguese Letters
Before passing to the work of Mrs. Behn it will be neces-
sary to take into consideration one other influence, perhaps the
greatest single influence of the century, namely the Letters of a
Portuguese Nun.^^ The first edition, a French translation, was
'^ The Letters of a Portuguese Nun. Translated by Edgar Prestage, Port-
land, Me., Thos. Mosher, 1900. This is a reprint of D. Nutt's edition
(London, 1897), itself a revision of the 1893 edition printed by the Con-
stable Press and limited to 500 copies.
For a discussion of the problems see : Cordeiro : Sorer Marianna. A
Priera Portugueza (Lisbon, 1888, sec. ed. 1891), which Prestage quotes as
a definitive study, and E. Gosse, " A Nun's Letters." Portn. Review, vol.
XLIX, u. s., p. 506.
71
published by the Parisian bookseller Claude Barbin in 1669,
and in turn translated into English by Roger L'Estrange in
1678. From that time until the present day there has been
much discussion as to their authenticity, but scholars seem to
have decided that they are the genuine letters of Marianne
Alcoforado to Noel Bouton, Marquis of Chamily and St.
Leger. A pitiful story of passionate love, despair, and proud
resolve, is revealed in these five letters in which, to quote
L'Estrange, the deserted woman " expostulated the business "
with her lover.^* The impropriety of the subject and the com-
plete self-abandonment, appealed strongly to the sensation-
loving seventeenth century. Here was none of that ethereal,
dignified love of the romances, but a violent passion, of the
earth earthy, expressed with that wealth of detail dear to the
realists. The heroine retraced and fondly lingered over every
circumstance in the history of her love, she deliberately wrought
up her emotions, she appealed to her lover with pathetic tender-
ness, she luxuriated in self-pity and gave herself up to despair
in a way, which, in spite of her terrible earnestness, verges on
sheer sentimentality.
"Why did you not leave me in the repose of my cloister? Had I done
you any wrong ? Yet pardon me, I impute nothing to you ; I have no right
to think of blame ; I accuse only the severity of my fate : in separating us,
it has inflicted all the evil that it could. . . . Adieu ! I know not how to quit
this paper ; it will fall into your hands. Would the same happiness were
mine ! " "
" Were it possible for me to quit this miserable cloister, I would not wait
in Portugal for the fulfillment of your promise. Regardless of appearances,
I would fly to seek you, love you, and follow you through the world. I
dare not flatter myself that this can ever be ; I will not cherish a hope that
would assuredly yield me some pleasure; henceforth I will be sensible to
grief alone." ^
" I go as seldom as possible out of the room where you have been so many
times, and^I look incessantly at your portrait, which is a thousand times
^Letters from a Portuguese Nun to an Officer in the French Army.
Translated by W. R. Bowles, edition of 1817. Reprinted by Brentano, New
York, 1904. The quotations are taken from Brentano's edition. In Pres-
tage's edition the Letters follow a different order, the one now believed to
be chronological.
"P. 66.
=»P. 66.
72
dearer to me than life. It affords me some pleasure ; but it likewise causes
m« a great deal of anguish when I think that I shall, perhaps, never see
you again." ^
" The officer has waited long for this letter : I had resolved to write in a
style that should not displease you : but what an extravagant letter have I
written — I must conclude — Alasi ! I cannot resolve to do it. Adieu ! I
suffer more in concluding this letter than you did in leaving me. Adieu!"
" How dear you are to me ! Oh, how cruel you are to me ! You never
write to me — I cannot refrain from telling you that once more — I am
beginning again, and the officer will be gone — No matter — let him go ! I
write more for myself than you, I only seek to console myself. . . . What
have I done that I should be thus miserable, and why have you embittered
my life ? Oh that I had been born in another country ! """
" Adieu, I fear to say too much of my misery : yet I thank you from the
bottom of my heart for the desperation you have caused me, and loathe the
tranquility in which I lived before I knew you. Adieu, my love increases
every minute ! Ah, how many things I have to tell you ! " "
Realism of external detail and straightforwardness of narra-
tion were familiar to writers of short tales, but when it came to
the expression of emotion, they borrowed the language of
romance or resorted to cynical grossness. These Letters, the
first example of realism of emotional detail, came at the psy-
chological moment to exert the greatest influence. There
already existed a taste for sentimentalism of an artificial reflec-
tive sort, or the Greek and heroic romances, the tragi-comedies
and heroic plays would never have been so popular. Likewise
there existed the taste for self-analysis, for egoistical enjoy-
ment in recounting one's own experiences with the minutest
detail, as the diaries of Pepys and Evelyn amply testify.*^
Moreover, the Letters came at the high-tide of the revulsion of
feeling against the visionary ideals and poetic language of the-
Hotel de Rambouillet on the one hand, and against the high
thinking and plain living of the Puritans on the other, in favor
of life in the raw — robustness, passion, and at its worst, im-
moral license in word and deed. The English edition of 1678
was followed by those of 1681, 1693, 1694 and 1716, by several
renderings in verse, additions, replies, various imitations, and
" P. 75- "" p. 106.
" p. 104. " p. 86.
" Cf. Burr, The Autobiography, pp. 182-184-
73
a version of the Letters of Abelard and Heloise^^ (1722).
Such close copies as Mrs. Manley's Letters in imitation of those
by a Portuguese Nun (1696), Letters of Love and Gallantry,
including the Adventures of a Young Lady, by Herself, in-
several Letters to a Young Gentleman in the Country, and the
Nun's Letter to the Monk, with other passionate letters that
passed between both sexes in town and country (1693) and
such variations as The Love-letters between a Nobleman and
his Sister: . . . under the borrowed names of Philander and
Silvia (1734) call for no comment. A curious sequel appeared
in a collection called The Lining of the Patch-work Screen by-
Mrs. Jane Barker (1726).**
How great an effect these Letters had on the cult of senti-
ment would be interesting to determine. For France, Pro-
fessor Waldberg has collected some interesting statistics
showing that it was quite the fashion to write "a la Portu-
gaise,"*^ but I have not met with such specific instances in
" The Letters of Abelard and Heloise were put forth in a Latin edition
in 1616 and translated very freely into French about 1675 and again by
Bussy Rabutin in 1695. In these and contemporary versions the translators
altered the originals to make them resemble the Portuguese Letters. The
English versions to the present day are based on the French translations
instead of the Latin originals.
" The author states that shortly after the publication of the Letters, it was
reported that a Sister long ill had escaped from the nunnery, and that on
the night of her flight a fire occurred in the cell of " her of the Portuguese
Letters," and a corpse, burned beyond recognition, having been found there,
it was presumed she had taken that way of leaving the world. This the
author goes on to explain was a mistake : as a matter of fact, the sick nun
had died and Marianne (whose letters had brought back her recreant lover)
had put the corpse in her bed and set fire to the room in order to cover her
own elopement. The two lovers lived happily for several years. Then the
man died, and Marianne and her children were left destitute, for she was
debarred from her inheritance and the children, since their parents were
not legally married, could not inherit their father's estate. Whereupon
follows a long discourse on the just punishment of sinners. In Casa
Braccio, by F, Marion Crawford (New York, 1895), a nun's elopement is
accomplished by this same device.
*" a. Waldberg, Der empfindsame Roman in Frankreich, pp. 45-122. " Si
je le faisois reponse sur le meme ton, ce seroit une portuguaise," from
the Letter of Madame de Sevigne to her daughter, July 19, 1671. II. 284,
ed. 1867. Quoted on p. 81. Later romanticists, such as Goethe, were much
impressed by the Letters.
74
England, although the correspondence of Mrs. Behn was evi-
dently in imitation of them. Their influence on the expression
of sentiment is noticeable in the tragic pathos of Otway's
Orphan (1680), and Venice Preserved (1682), in the dramas
of Southeme, to a less extent in those of Rowe, and in such
poems as Pope's Eloisa to Abelard (1717). Language,
which in the original had the force of sincerity, was put in the
mouth of every heroine, so that before long this hysterical
self-abandonment became almost as much of a convention as
the preciosity of the romances. With the eighteenth century
came a reaction against both this violence and this immorality,
in a desire to make manners and morals conform to certain
well-established rules. The attempt to adjust the unrestrained
expression of passion to the " prunes, prisms, and proprieties "
of middle-class London resulted in that sentimental didacticism
of which Richardson is the great exponent.
Equally great and more obvious than the bearing of these
letters on the growth of sentiment, was their influence on
the rise of the letter as a narrative form.^* The form was
not a complete innovation, for letters were a common device
in the romances, and polite society had long been amusing itself
composing elegant epistles ;*' but these, as Mr. Gosse points out,
were the first to convey real emotion and as such they exerted
an influence on letter-writers. More important in view of
the development of narrative art, they were almost the first
to reveal an entire story, certaiiily the first to enjoy a wide-
spread popularity. Professor Waldberg has shown in detail
how great an influence they exerted in France. So many
imitations cannot be cited in England, but it is surely
significant that, while before 1678, there were no novels in
letter form, in the remaining years of the century, out of
the score of original English works there were at least
eight. A still further impetus was given to the letter form
by its adoption for satire in the remarkably popular Letters of
*° Cf. Waldberg, Ibid. Reynier, Le Roman Sentimental avant I'Astree,
ch. vi, p. 246, gives a list of erotic works in letter form, before 1610.
*' Cf. Upham, The French Influence in English Literature, pp. 434-447,
for a discussion of the vogue of Voiture, Balzac, " Orinda," Howell, and
Loveday.
75
a Turkish Spy,*^ which enjoyed numerous EngHsh editions.
From that time dates the vogue of the pseudo-letter which
was utilized for descriptions, character-sketches, gossip, politi-
cal discussion, and narratives.
All the influences mentioned in this chapter — the Spanish
novel of the Cloak and Sword, the French story of con-
temporary scandal, the Narrative Comedy, and the passion of
the Portuguese Letters are reflected in the vigorous work of
the buoyant Mrs. Behn.
Aphra Behn*'
The Hfe and work of the " admirable Astrea," as Mrs. Behn
was universally called, has received such careful and adequate
treatment by Professor Siegel that the present writer need
only summarize his conclusions and elaborate somewhat Mrs.
Behn's relationship to the influences so far discussed, and her
relative position in the development of fiction. Of her parentage
and early life, we know practically nothing more than that in
1650, when the little Aphra was about ten, she, with the rest
of the family, accompanied her father, one John Johnson, to
Surinam, whither he had been sent as Lord Lieutenant of the
Barbadoes. As he died on the way out, the family very
shortly returned, but how deep an impression was made on the
mind of the future novelist may be gathered from her many
references to the Indies and particularly from her most notable
^ The first English edition. Letters writ by a Turkish Spy, who lii/d five
and forty years . . , at Paris: giving an Account , . . of the most remark-
able transactions of Europe , , , from i6s7 to l6Ss, appeared in 1687, and
is DOW conceded to be a somewhat modified translation by T. S. Midgley,
Wm. Bradshaw, Dr. Manley and others from L'Espion Turc, by G. P.
Marana, Paris, 1684, 1685, 1686, and Amsterdam, 1687. The remaining
three books appeared first in London, due, it is said, to complications about
the printing. Later there were numerous pseudo-continuations. Some
idea of the popularity of the work may be gathered from the fact that it
reached its twenty-sixth edition in 1770.
^ Aphra Behn's Gedichte und Prosawerke, P. Siegel. Anglia, xxv, pp.
86 sq., and 329 sq. Separately printed, New York and Halle, 1901.
The Plays, Histories and Novels of Mrs, Aphra Behn. With Life and
Memoirs. Published by Mr. Charles Gildon. Six volumes. London, 1871.
Reprinted from the 1705 edition, itself revised from the 1696 edition.
76
novel, TPie History of the Royal Slave, or Oroonoko. She
married, when little more than a girl, a Mr. Behn, a Dutch
merchant resident in London, who, however, lived only a few
years. His death deprived his widow of her only means of
support and forced her to make the most of her talents to
amuse the court, where her vivacity and good looks had
already won her favor. The King, taking advantage of her
Dutch connections, sent her to Holland as a spy in 1666-67,
and, had his ministers put more faith in her advices, the
English might have been spared the shame of having the fleet
burned in the Medway. While in Holland, Mrs. Behn be-
came engaged to another Dutchman, the " Vander Albert " of
the letters, who, to quote her first biographer, " on his way to
make all things ready for his voyage to England and matri-
mony died of a fever." The " fair Astrea " devoted the rest
of her life to "pleasure and Poetry," or rather to the labor
of supporting herself by her pen, for from 1671, the date of
her first play, until her death in 1691 she wrote in many
fields: — ^poetry, drama, fiction, besides translating Latin
classics like Ovid, French novels, and such semi-scientific
works as Fontenelle's Theory of Several New Inhabited
Worlds . . . lately Discovered.
Only her prose narratives, in the eyes of the author and
her contemporaries the least important part of her work, are
of interest to us. The three series of letters, two elaborate
" conceits " from the French, and seven novels are all con-
tained within the limits of two small volumes. Two sets
of letters concern her adventures in Holland; one being a
burlesque correspondence between an admirer and herself,
the other being a vivid account of her experiences and obser-
vations. In the latter occur the earliest attempts at narration,
and in them, particularly in the story of the two young rakes,
who by playing on their miserly old father's fear of ghosts,
terrify him into yielding them his money and retiring to a
monastery, may be found the manner and spirit of her later
works almost as perfected as in The King of Bantam or
Oroonoko. The third series of letters, known as The Love-
Letters to a Gentleman, are entirely different in tone and style
77
— a difference due, it seems to me, to the influence of the
Portuguese Letters. The exact date of Mrs. Behn's letters
is uncertain, but as there is a reference to " my new play,"
they must obviously have been written as late as 1671, when
her first play appeared. Even if they were written in the
year of the play, the French edition of the Letters of a Portu-
guese Nun had preceded them by at least two years. The
influence of the latter may be traced in the likeness of situa-
tion, tone, and style. The situation, that of a woman trying
to retain the love of a luke-warm lover by revealing the
strength of her own passion, is practically unique in the writ-
ings of Mrs. Behn. The only apparent exceptions are The
Fair Jilt and the subsidiary story of " the injured and forsaken
Elvira " in The Nun, and upon closer examination these prove
quite different. The heroine in the Fair Jilt tries to arouse
a passion and fails, but she is not deserted, and her love be-
comes no abject devotion, but a violent hate. Furthermore,
she soon shifts her affection to one of her numerous adorers,
and even the unappreciative monk to whom she was first
attached, appreciates the "honour done him" and writes to
her " with all the profound respect imaginable." Elvira's
case is more nearly in point, but Mrs. Behn took no pains to
elaborate Elvira's feelings or to show that she tried to win
back her lover. Moreover, in the somewhat similar instances,
as in the rest of her work, Mrs. Behn held to the Platonic
formulas. In the grossest of her stories the heroes and
heroines employ the decadent preciosity which had been
popularized in such pieces as Lycidas,^" The Lover's Watch,
and Lady's Looking-Glass,^'^ which she herself translated, so
that the very different style in the Letters to Lycidas is all the
more striking.
" Possibly you will wonder what compels me to write ? What moves me
to send where I find so little welcome ; nay, where I meet with such returns :
it may be I wonder too."""
■* From Le Voyage de I'isle de V Amour i Lycidas, 1663-1664, trs. 1680.
"From La Montre; par M. de Bonnecorse ; i Cologne 1666; tseconde
partie contenant La Boete et Le Miroir. Paris, 1671.
"■ Letter III, p. 58.
78
"Was that, my friend, was that the esteem you profess? Who grows
cold first? Who is changed? And who the aggressor? 'Tis I was first
in friendship and shall be last in constancy. Take your course ; be a friend
like a foe, and continue to impose upon me, that you esteem me when you
fiy me. Renounce your false friendship, or let me see you give it entire to
Astrea." "^
" You ought, Oh faithless and infinitely adorable Lycidas ! to know and
guess my tenderness; you ought to see it grow, and daily increase upon
your hands. If it be troublesome, 'tis because I fancy you lessen. . . . Oh
unlucky, oh vexatious thought! . . . Or, why make more words of tender-
ness, than another woman, that loves as well, would do, as you once said?
. . . Farewell. I love you more and more every moment of my life.
Know it, and Good-night." ™
The difference between these letters and the rest of Mrs.
Behn's work is usually explained on the ground that this was
a more sincere attachment, and it is very possible that her love
for Lycidas may have been real, but certainly in expressing
herself she deliberately modelled her letters after those by
the Portuguese Nun.
The seven novels, whether classified according to chronol-
ogy or according to genre, fall into the same three groups:
humorous stories, " histories " based on observed facts, and
novels of the cloak and sword order. As has just been
pointed out, the earliest attempts at prose narrative are in
the letters retailing gossip, and are amusing anecdotes pre-
paring directly for such a piece as The Little Black Lady^*
which appeared in 1663 and is presumably her earliest novel.
It is a witty description of the many humorous mishaps that
befel a most unsophisticated little brunette when she visited
London. As in many of these stories of the French order,
we feel that the author originally read it aloud, and that,
bright as it is, we lose something by knowing it only from
the printed page. This is less true of Mrs. Behn's next
narrative The King of Bantam,^^ though that also is in
"^ Letter II, pp. 64-s.
^ Letter VIII, pp. 84-5.
" The Adventure of the Black Lady, vol. ii. Histories and Novels, or
Complete Works, vi. 325-336.
''^ The Court of the King of Bantam, Complete Works, vi. 292-324. The
date is uncertain, but the story must have been written before the death of
79
the conversational French manner. The plot is much more
elaborate, the characters sharply contrasted, and the general
style and method those of the narrative comedies.
Sir Philip Friendly, by taking advantage of the Twelfth Night custom of
choosing a mock king and queen, tricked a foolish fop. Would-be King,
into bestowing a round sum on his (Friendly's) mistress, and on his niece
a fortune sufficiently large to permit her to marry her lover.
From the point of view of structure and style this is Mrs.
Behn's best novel; in cleverness, extravagance, and comic
force it challenges comparison with the best Restoration
comedies. The local color given by the names of Whitehall
and Charing-Cross, the seeming endeavor to be accurate, and
the raciness of the style obscure its close relationship to con-
temporary French fiction, yet these very characteristics are
imitated from the Parisian stories.^'
" This money certainly is a. most devilish thing ! I'm sure the want of it
had like to have ruined my dear Philabella, in her love to Valentine
Goodland." ^'
" When he was in town, he lived — let me see ! in the Strand ; or, as near
as I can remember, somewhere about Charing-Cross ; where, first of all
Mr. Would-be-King, a gentleman of a large estate in houses, land and
money, of a haughty, extravagant, and profuse humor, very fond of every
new face, had the misfortune to fall passionately in love with Philabella,
who then lived with her uncle." °^
Mrs. Behn did not again appear as a writer of fiction until
1688, in which year she published her two so-called histories.
Charles II, since this passage occurs : " Indeed I don't hear that his Majesty
King Charles II ever sent an ambassador to compliment him ; though pos-
sibly, he saluted him by his title . . . for, you know, he is a wonderful
goodnatured and well-bred Gentleman" (p. 313).
In Spectator, S57, J-u^e 21, 1714, there is a reference to a letter as
" written in King Charles II's reign, by the Ambassador of Bantam."
" As, for example, such translations as The Gentleman- Apothecary, Being
a Late' and True Story. 1670; The Husband Forc'd to be Jealous, 1668; The
Disorders of Bassett, 1688 ; The Crafty Lady, or the Rival of Himself, 1683.
" Ibid., p. 292.
" Ibid., p. 293.
80
Of these The History of the Royal Slave; or, Oroonoko^^ is
the better known. The author lays great stress on the fact
that she is chroniding events and not writing a romance:
" I do not pretend, in giving you the History of this Royal Slave, to enter-
tain my reader with the adventures of a feigned hero, whose life and for-
tunes fancy may manage at the poet's pleasure; nor in relating the truth,
design to adorn it with any accidents, but such as arrived in earnest to
him." ""
The plot therefore is biographical, but is nevertheless com-
posed of two distinct parts; the first deals with Oroonoko's
life in his native land and particularly concerns his love affair
with Imoinda, the second recounts his kidnapping and his ad-
ventures in Surinam. The first, Mrs. Behn fabricated, the
second she witnessed. Nothing could show more clearly
than the first part her lack of real imaginative power; her
negro court is a combination of Restoration licentiousness and
the luxuriousness of the pseudo-Oriental romances. The
second part has all the interest of a sensational incident re-
ported by a keen and able eye-witness. With contagious zest,
she describes Oroonoko's appearance, his manners, and be-
havior, tells us what he said, what he did, what she thought
of him, and what the other people thought, yet always keeps
us in sympathy with the hero. Her hold on her readers, like
that of Defoe, comes first of all from her own earnestness.
In form and style Oroonoko is inferior to its predecessors,
there is more extraneous material, and a tendency to rant in
the moments of emotional stress, but the tone is so much
higher and the subject so interesting that Oroonoko justly
ranks as the author's masterpiece. It is frequently referred
to as the first humanitarian novel and as a forerunner of
Uncle Tom's Cabin, but it is more than doubtful if Mrs. Behn
"The History of the Royal Slave; or, Oroonoko. Complete Works, vol.
V. The plot, briefly stated, relates the kidnapping of Oroonoko and Imo-
inda into slavery; their reunion and marriage in Surinam, and the ill
treatment and final revolt of Oroonoko, culminating in his murder of his
wife, Imoinda, and his own execution.
It was dramatized as Oroonoko ; a tragedy, by Southern in 1696, and as
Victorious Love by William Walsh in 1698.
"■v. 75.
81
was trying to arouse sentiment against slavery. Abuse of
the slaves she certainly denounced, but, as in the case of Defoe,
there is nothing in her discussion to indicate that she thought
they, as a race, ought to be free, or that she thought such in-
feriors could be anything but slaves.^'"' Oroonoko was an ex-
ceptional case. She had come in contact with his personality
and her sympathy had been aroused. Moreover, it should be
remembered that Oroonoko is no ordinary negro, but a king
and a hero from romance. The brutal murder of Imoinda and
the stoical endurance of torture is the conduct of a savage, and
in those passages Mrs. Behn was depending upon her observa-
tions ; but, generally speaking, Oroonoko conducts himself with
the propriety of those heroes of romance who were enslaved
by the piratical Moslems.
" The most famous statuary could not form the figure of a man more
admirably turned from head to foot. His face was not of that brown
rusty black which most of that nation are, but a perfect ebony, or polished
jet. . . . His nose was rising and Roman, instead of African and flat; his
mouth the finest shaped that could be seen, far from those great turned lips,
which are so natural to the rest of the Negroes. The whole proportion
and air of his face was so nobly and exactly formed, that bating his
colour, there could be nothing in Nature more beautiful, agreeable and
handsome." °°
" He had an extreme good and graceful mien, and all the civility of a
well-bred Great Man. He had nothing of barbarity in his Nature, but in
all points addressed himself as if his education had been in some European
court." *"
Closely connected with the heroic mould of Oroonoko is the
conception of the ideal man as the good savage. Mrs. Behn
introduced this character into fiction, and no doubt had much
to do with popularizing the idea.*"" It was, however, well dis-
seminated at this time, for it was a current Hobbism and had
"'"' Cf. Oroonoko's denunciation of his confederates, " by nature slaves."
p. i8i.
"Ibid., p. 87.
«>» P. 86.
*"■ Oroonoko was translated into German in 1709 and into French in 174S,
and in both countries was dramatized.
7
82
already been finely phrased by Dryden in The Conquest of
Granada (1672) :
" But know, that I alone am king of me.
I am as free as nature first made man,
Ere the base laws of servitude began.
When wild in woods the noble savage ran." Act I, sc. i.
The Fair Jilt, having more commonplace material, has re-
ceived less attention, yet it is better constructed, and, from
the point of view of characterization, more interesting."^ As
in Oroonoko great stress is laid on the absolute fidelity of the
author to the facts, and again the story is biographical.
Miranda was a beautiful flirt who lived, at the beginning of the narrative,
in a religious house in Amsterdam. She fell in love with a young priest
who repelled all her advances, whereupon the angry lady charged him with
trying to seduce her and had him committed to prison. There she left him
to languish while she carried on her flirtations and was wooed and won by
a rich traveller who went by the name of Prince Tarquin. Time went on ;
and the extravagant ways of the young couple soon used up their fortune.
To get more money, Miranda determined to have her younger sister mur-
dered, and for this purpose worked first upon the love of a youthful admirer,
and then upon that of her doting husband. Both failed to kill the girl,
but being detected in the attempt, were caught, condemned, and sentenced
to death. The boy died, but by a slip on the part of the headsman and the
connivance of a friendly crowd, Tarquin, though severely wounded, man-
aged to escape. He was finally pardoned and returned to his native land,
where he was joined by his still adored and now penitent wife, who had
secured her own release by confessing all her nefarious practices and clear-
ing the long-suffering friar.
The heroine is so consistently and inhumanly villainous that
she fails to be interesting, but the hero, who could love her
through all the ills he endured on her account and finally
could take her to his old father as the woman who had saved
him from an ignominious death, is an unusual and original
T^e Fair Jilt; or, the Amours of Tarquin and Miranda. Complete
Works, v. 201-87. The exact date is unknown, but the phrase ..." in
the time when our King Charles of blessed memory, was in Brussels, in the
last year of his banishment," puts it after 1685. There is an advertisement
in the Term Catalogues for T. Tonson, Michaelmas, 1678, which strongly
suggests the first part of the story. The Amorous Convert; being a true
relation of what happened in Holland.
83
type. Curiously enough, in drawing this magnanimous char-
acter, Mrs. Behn did not think of him as fine and noble, but
on the contrary, regarded him as a fooUsh victim of " the force
of love." As in the old novelle there is no sympathy for the
cheated. In this novel, even more than in the others, we find
those little devices for producing a realistic effect which we
are prone to regard as peculiar to Defoe. Take, for instance,
the accurate description of the crowd of by-standers who
" scrambled for some of the bloody saw-dust, to keep for his
memory,'' or that of Tarquin preparing for execution:
" and undressing himself with the help of his valet and page, he pulled off
his coat, and had underneath a white satin waistcoat ; he took off his peri-
wig, and put on a white satin cap, with a Holland one done with point
under it, which he pulled over his eyes."
Most " Defoeian " of all is the last sentence : " Since I began
this Relation, I heard that Prince Tarquin died about three-
quarters of a year ago." Such phrases as these explain Ma-
caulay's astonishing statement that Moll Flanders, Roxana,
and Colonel Jack were " in no respect . . . beyond the reach of
Afra Behn."»i^
The novels of the cloak and sword, which compose the third
group, of Mrs. Behn's fiction are three in number. The
first. The History of Agnes de Castro, or the Force of Gen-
erous Love,^^ came out in 1688, and was followed the next
year by The Nun; or, The Perjured Beauty,"^ a tale of false
friends, lying lovers, duels, and mistaken identities, ending in
the death of all the participants. About the same time was
written The Lucky Mistake, a story of crossed loves, obdurate
parents, and steadfast devotion, in which everything comes
out right in the end and everybody lives happily forever after.
Though the least powerful, it is decidedly the prettiest and
purest of Mrs. Behn's novels.
°" Cf. Life and Letters of Lord Macaulay, ed. Trevelyan, 1876, II. 383.
"^ Mrs. Behn's version of Agnes de Castro, Nouvelle Portugaise, par J. B.
de Brilhac, Amsterdam, 1685, appeared in Modern Novels, vol. iv, and was
dramatized in 1696 by Mrs. Catherine Trotter.
"^ History of the Nun, or, the Faire Vow-Breaker, was the title of the
first edition, 1689.
84
In these seven narratives, Mrs. Behn passed, for she can
scarcely be said to have progressed, from humorous anecdotes
of actual experience, to sensational, journalistic and supposedly
true accounts of episodes wrhich she had witnessed, and from
these to deliberately fictitious stories in the Spanish manner.
Her first attempts at fiction, which, as has been said are in the
letters, resemble the first two groups and are almost as
artistically perfect as the later and longer examples. To speak
paradoxically, there is no " art " in any of them, which does not
mean no artifice. At litejary trickery, Mrs. Behn was an
adept, but she never worked according to principles or selected
and arranged her material to produce certain results and large
effects. In common with most clever men and women of her
gossip-loving generation, she possessed the gift of "tell-
ing a good story," and circumstances forced her to develop
this gift. Very naturally, she imitated the popular French
stories from contemporary life, substituting for the continental
material the experiences of her own circle of acquaintances, and
for the indescribable " esprit," a flashy impudence. Yet she
never progressed beyond the conversational and episodic stage.
She elaborated episodes at length, she combined them, she
connected them by bits of description, but she never completely
merged them into one large plot. When relating incidents that
had not come within the range of her observation, or analyzing
emotions or expressing passion, she borrowed from the
romances or current love-letters. Her interests were rather
narrow and vulgar, her imaginative range was limited to
matters of detail, she had no sense of mystery, and no con-
science either moral or aesthetic ; but, as a compensation for so
many limitations, she possessed keen powers of observation, a
strong personality, a racy style, and the trick of producing veri-
similitude, which with her unusual experiences have given her
a reputation for originality. Original in the sense of creative,
Mrs. Behn was not, but she knew how to make the most of
what was at her command. She was a woman of strong feel-
ings and of amazing vigor, all of which she threw into her
work without the least restraint. The personal element is
what makes her work so readable, for her vulgarity and gross
85
immorality are almost counter-balanced by her buoyancy and
robust common sense. All her work is enlivened by a dash
and impudence that give snap and life to her colloquial slip-
shod style. It was just such vigor, just such vivid style that
English fiction needed, and it is for these more than for any
originality, more even than for the accident of Oroonoko, that
she deserves a place in the history of the English novel.
Mrs. Behn was succeeded by Mrs. Mary de la Riviere
Manley who possessed most of her vices and few of her virtues.
Mary de la Riviere Manley^*
Of Mrs. Manley's life we know even less than of that of
Mrs. Behn, for our chief source of information is her own
"account of her life and times," which contains more fiction
than fact. We do know, however, that she was born in 1673,
and lived most of her disreputable life in and about London,
supporting herself by writing scurrilous articles, indecent plays,
and scandalous stories. Her father. Sir Roger Manley, was
associated in some mysterious way with the Turkish Spy,^^ so
that Mrs. Manley may be said to have been predisposed in
favor of pseudo-historical compilations of political and social
gossip. There is, so far as I know, no careful bibliography of
her works, some of which were, very wisely, printed anony-
mously. The first of her productions to appear was her " let-
ters " in 1696. In 1705, appeared an attack on the Duchess of
Portsmouth, under the title The Secret History of Queen Zarah
and the Zarazians, a conglomeration of tales of intrigue and
personal scandal, generally attributed to her, to which additions
were printed in 1711 and a key in 1712. This is the earliest
example of this species of romance in English. In 1709, she
published the notorious Secret Memoirs and Manners of
several Persons of both sexes from the New Atalanfis in which
she combined the secret-memoir and the ideal commonwealth.
For this scandalous attack on the Whigs, she was arrested, and
not discharged until 1710. So popular had it proved, however,
that Mrs. Manley was induced to write continuations under
" Cf. G. A. Aitken in D. N. B.
"Infra, p. 106.
86
various titles. The next year, 1710, in the Memoirs of
Europe towards the close of the eighth century. Written by
Eginhardus, Secretary and Favorite to Charlemagne, she varied
her presentation of scandal by using an historical setting. These
Memoirs were dedicated to " Isaac Bickerstaff," i. e. R. Steele,
whom she had attacked in the New Atalantis.^^^ In 1714
appeared The Adventures of Rivella; or the History of the
author of the Atalantis with secret memoirs and characters of
several considerable Persons her contemporaries, which was
reissued for the fourth time in 1724, as Mrs. Manley's His-
tory of her Life and Times. In addition to these narratives
Mrs. Manley may have written Bath-Intrigues^^^ published post-
humously in 1725, and a collection of short stories which were
printed under the title of The Power of Love in Seven Novels.
The eight Letters to a Friend, or A Stage-Coach Journey to
Exeter. Describing the Humours of the Road with the Char-
acters and Adventures of the Company, as it was reprinted in
1725, is her most entertaining work. The journey is but a
framework for stories of intrigue and formal "characters."
The accounts of disgusting amours told by the beau and the
sea-captain no longer divert us, but the attention is still held by
the vivid picture of the journey, of the inns, of the customs
of the road, and of the travellers, — the " impertinent beau," the
hearty sea-captain, the prude, and last, but not least, the lively
Mrs. Manley herself. In this narrative the style is on the
whole, far superior to that in the novels, the secret histories, or
the love-letters, although it must be admitted that even at
her worst, Mrs. Manley is seldom dull.
The Adventures of Rivella, Delivered in a conversation to the
Young Chevalier d'Aumont in Somerset House Gardens by
Sir Charles Lovemore^^" which appeared in 1714, is generally
supposed to be autobiographical and may have been so in part.
It shows considerable skill, and in spite of its scandalous char-
"'' In the Toiler (No. 63), she was attacked by Swift, but later he spoke
kindly of her and when she succeeded him as editor of the Examiner as-
sisted her with several articles. In Atalantis Major, (1711) generally at-
tributed to Defoe, the usefulness of the New Atalantis is sarcastically com-
mented upon.
""' See bibliography under 1625.
«"= Sir John Tidcomb.
87
acter possesses certain romantic features. The central story,
that of a poor girl who refused to marry her lover when she
discovered that he could marry a rich woman, has idealistic
possibilities, and the "Portraits" of Rivella and her friends
are quite in the manner of such romance heroines as Sappho
and Clelia, while in the use of specific details Mrs. Manley
suggests Defoe.
Bath-Intrigues is an Hogarthian sketch of the famous resort
during " the season," in the manner of the sketches of London
by Ned Ward and Tom Brown. Of the seven novels in The
Power of Love four are redactions of stories in Painter's
Palace of Pleasure^^ and it is highly probable that the remaining
three, together with the novels in her other works, could be
traced to the same or a similar source. Mrs. Manley con-
densed the originals by substituting a direct style for Painter's
lengthy periods, but otherwise she made no changes either in
manner or method; indeed, she did not so much as change
the names of the characters. Mrs. Manley never seems to
have been interested in the motivation of her characters or the
interpretation of her facts. In the New Atalantis, for exam-
ple, there is material for many long novels of the Richard-
sonian type but she contented herself with telling what hap-
pened and how it happened, in a clear, concise, yet circumstan-
tial manner. Take the story of Zara and Mosco: he had
ceased to care for her, but she, like the poor Portuguese Nun,
continued to "importune him with passionate appeals," until,
in desperation he resolved to "break with her absolutely."
He invited her to take a walk at twilight, they quarrelled, and
she fell in the brook and was drowned — committed suicide,
he said. As Mrs. Manley tells the story, we understand the
situation perfectly, we can fairly see the orchard and the
" My attention was first called to Mrs. Manley's relationship to Painter
by a note in the dissertation of Dr. Utter (Studies in the Origins of the
English Novel, p. 150), to the effect that The Wife's Resentment is Painter's
forty-second novel, Didaco and Violenta; the first of the two stories bear-
ing the name of The Husband's Resentment Painter's forty-third, Of a
Lady of Thurin; and The Happy Fugitives, his forty-fourth, Almerane and
Adelesia. Subsequently I found The Fair Hypocrite to be Painter's forty-
fifth, the well-known Duchess of Savoy.
88
brook, but we do not understand either Zara or Mosco. Or
again, take the story of Mosco's brother Hernando, who, al-
though married, ruined his ward by inducing her to enter into
a "bigamous marriage" with him; and then, tiring of her,
left her "to die of a broken heart." Here we are given a little
more information: we learn Hernando had been married
against his will by his father and had never loved his wife, and
further, that he had carefully corrupted the mind of the youth-
ful Louisa by his evil teachings. But all this information is
given in an unsympathetic, objective manner. There is no
sympathy, none of Mrs. Haywood's morbid pity, nor, on the
other hand, is there any moral censure. In short, Mrs. Man-
ley had neither the independence nor the power of Mrs. Behn,
and her work is on the whole a harking back to the older type
of novel or a lively, relation of current scandal, which derives
whatever value it may possess from its closeness to actuality.
Mrs. Manley's successor, Mrs. Haywood, dealt with very sim-
ilar material and often in much the same spirit and manner,
but the change of temper which marked the opening of the
eighteenth century, together with some new literary influences,
is reflected in her work and may appropriately be treated in
the next chapter.
CHAPTER III
THE NOVEL (i 700-1 740)
It will be recalled that in the introduction considerable
emphasis was laid upon the change of taste that took place in
the early years of the eighteenth century, and that this change
was attributed to the reaction against the flagrant immorality,
the license, and the harsh realism of the later Stuart period and
to the contemporary rise in social and literary importance of
the upper bourgeoisie. Propriety and compromise became the
watchwords of a generation which, animated not by religious
zeal but by weariness of the prevailing abuses, wished to make
life purer and pleasanter. The ideal thus created was objective
and ethical, making its appeal not through the imagination but
the intellect; it was a morality neither lofty nor inspiring but
eminently practical. People were not concerned with spiritual
theories or moral problems, but with conduct, the practice of
morality in all the affairs of life. The formulation of this
ideal may be studied to best advantage in the social treatises or
conduct-books, which had in many ways an important bearing
on the development of the novel.
Throughout the sixteenth, seventeenth, and eighteenth cen-
turies these books were very numerous, and between 1600
and 1740 there must have been several hundred. The Cour-
tier of Castiglione and The Prince of Machiavelli, which treat
on a grand scale the ideal courtier and the ideal ruler, belong
to the earlier Renaissance, and as early as 1600 had been super-
seded by the more detailed treatises concerning the gallant and
the lady of the French salons.^ A very few of these works
were concerned with character as well as manners, a good
many were controversial pamphlets concerning the feminist
*As The Honour of the Ladies, Abraham Darcy, 1622; The Gallery of
heroic Women, from the French of John Poulet, 1652.
89
90
movement,^ but by far the larger number were formal manuals
of etiquette in which could be found specific directions for
conducting a conversation, for entering a room, for pursu-
ing a Platonic courtship, and for writing letters on all occa-
sions.^ Various devices such as the " character," the dialogue,
and the pseudo-letter,* were utilized to set forth this informa-
tion, and in all cases the illustrative story was used to advan-
tage. The advice thus given was always concrete and specific
and based upon the usage of such literary assemblies as the Hotel
de Rambouillet and such English imitations as the circle of the
"matchless Orinda." With the eighteenth century a great
change came over these social treatises. In the first place, the
select coteries no longer existed, and the ideal had to be
adapted to the needs of a much more general public. In the
second place, the interest in practical morality led writers to
treat as much of general questions of character and conduct
as of questions of etiquette. The rules of good form were
made dependent upon the principles of right living. The social
treatises are not to be regarded as fiction, but they played a
most important part in its development ; indirectly, by setting up
certain ideals to which the hero and heroine were made to
conform, and directly, in the illustrative stories and model
letters. In the eighteenth century these stories were greatly
elaborated, and are in subject-matter and sentiment almost
identical with the novel of manners. The Family Instructor
and Religious Courtship of Defoe, The Letters Moral and
Entertaining of Mrs. Rowe, the Familiar Letters of Richard-
son, the Tatler, the Spectator, and Mrs. Haywood's Tea^Table
contain numerous novels in embryo, and Pamela it will be
' For ex., Pleasant Quippes for Upstart Newfangled Gentlewomen, by-
Stephen Gosson, 1596, A Strange Wonder; or, a Wonder in a Woman, etc.,
1642, The Woman as Good as the Man, 1671, Femina non est Homo, by
Holltse (F. H.), and Walsh (W.), 1678, Dialogue concerning Women, by
W. Walsh, 1691, and the pamphlets of Mary Astell, c. 1700.
' Such as Domestic Duties by W. O. D. Gouge, The Accomplisht Woman,
from the French, by Walter Montague, 1656, and The English Hous-Wife,
by G. Markham, 1660.
* The Lover's Secretary, , . . Being a collection of Billet-Doux, etc., 1692.
Familiar Letters of Love and Gallantry, 1718. The Perfect Serving Maid,
1692.
91
remembered was "Published in order to cultivate the Prin-
ciples of Virtue and Religion in the Minds of the Youth of
Both Sexes."
The Duchess of Newcastle**
Some early examples of this type of literature are to be
found among the works of Margaret, Duchess of Newcastle
(i624?-i674). She was one of the most interesting person-
alities of the seventeenth century, and consequently her writ-
ings, though lacking in grace and literary finish, have a
certain attraction. A strong-minded woman was the Duchess.
She dressed as she pleased, wrote as she pleased, thought as
she pleased and said what she pleased, in scornful, and one
might say studied, defiance of fashion, convention, Mrs.
Grundy, and the feelings of her friends. As she was not
given to sentimentalizing or to self-analysis, she never had the
least doubt as to what was right and what was wrong under
any circumstances, and, once she perceived her duty, she per-
formed it with all possible ostentation. Two weaknesses the
good lady had: an unmitigated admiration for the stolid
Duke of Newcastle, and an inordinate passion for fame. She
took herself and her ambition with a seriousness and earnest-
ness that give a life and vitality to her pedantic and amateur
performances, lacking in the more polished, but artificial, pro-
ductions of her contemporary, Mrs. Philips. Her own indi-
viduality with all its idiosyncrasies is impressed upon her
twenty odd plays, her verse, her biography of the Duke of
Newcastle, her autobiography, and the miscellaneous pieces
of no particular genre which we are about to consider. Per-
sonally, I always feel that the Duchess was vaguely dissatis-
fied, that as Arnold said of Gray, though in a rather different
sense, she "never spoke out," and that her innumerable pre-
faces to the reader, her awkward, learned style, and her at-
tempts to write in all possible forms are due to a restless
seeking for better self-expression.
The World's Olio, one of her earliest works (1655), con-
" Cf. Article on " Margaret Cavendish " by J. Knight in D. N. B.
92
sists of a number of short essays on all sorts of subjects from
the "Inferiority of Woman, morally and physically," to the
" History of Language," the " Breeding of Children," " Court-
ship," " Hospitality," " Fame," and a criticism of " Penelope's
indiscretion in allowing herself to be courted." Incidentally,
there are numerous references to contemporary manners and
morals and a very vivid picture of the Newcastle household,
in which it is safe to assume that the Duchess, for all her
theories on the subordination of woman, ruled with a rod of
iron. The following year (1656) appeared Nature's Pictures
drawn by Fancie's Pencil to the Life, with a frontispiece rep-
resenting the family circle " Telling of tales of pleasure and of
witt." We are told in one of the Prefaces that "There are
several feigned stories of natural descriptions as comical,
tragical, and tragi-comical, poetical, romantical, philosophical
and historical both in prose and verse. . . . Also there are
some morals and some dialogues . . . and a story at the latter
end in which there is no feigning." And in another preface
we are told that the purpose is " to present virtue, the muses
leading her and the graces attending her, and to shew vice is
seldom crowned with good fortune ; and to defend innocency."
But the stories are disappointing, being merely conventional
romantic intrigues wrenched out of shape, so to speak, to
afford a moral conclusion. For instance, there is the story of
Assaulted and Pursued Chastity, in which a lady who had
won a prince's affections declines his presents, shoots the too
presumptuous suitor, and makes good her escape to a fantastic
land, from which she returns at the head of some troops and
finally marries the prince. In The Ant and the Bee and Wit
and Wisdom are represented the fable and the moral tale.
The CCXI Sociable Letters of 1664, are much more inter-
esting. As the Duchess explained in a preface, "They are
rather scenes than letters, for I have endeavored under the
cover of letters to express the Humours of Mankind and the
actions of a man's life, by the correspondence of two ladies
living at some short distance." The idea was capital and one
which later writers used to good purpose, but the Duchess
gives too little space to the characters and episodes and too
93
much to censorious moralizing. We have some very interest-
ing situations, sketches which have great possibiHties of de-
velopment, as for example, the story of "the gentleman that
married his kitchen-maid " and the account of a family quarrel
" ensuing upon a lady's refusal to serve on her table her
husband's favorite dish, vulgar roast-beef." But the Duchess
left them undeveloped.
In the field of pure fiction her only contribution is a wild
romance. The Blazing World (1665), in which she set forth,
some truly astounding vagaries on the subject of physics.
Her best narratives are the Biography of the Duke of New-
castle^^ (1667) and her Autobiography^^ (1656). In her great
desire to present the exact facts, to prevent all possible mis-
understanding by numerous details and careful explanation,
there is a suggestion of the realism of the next generation.
Mrs. Elizabeth Rowe*"
Mrs. Elizabeth Rowe (1674-1737) belongs in many respects
to the same school as the Duchess of Newcastle, but this well-
bred lady would have been unutterably shocked by her plain-
spoken predecessor. Mrs. Rowe undertook to inculcate prin-
ciples of right living by means of sentimental piety. In 1728
appeared Friendship im Death in twenty letters from the Dead
to the Living, in which the recently departed give their friends
sound advice, timely warnings, and glowing accounts of heaven.
There is nothing mysterious or even impressive about these
ghosts, who are of the world, worldly. In fact, the Letters
do not differ essentially from the superior, but less popular.
Letters Moral and Entertaining, which appeared in three in-
stallments, in 1729, 1 73 1 and 1733. In these epistles, sup-
posedly written to intimate friends, we have some interesting
stories told by one of the participants, usually the heroine.
*" The Life of William Cavendish, Duke, Marquis, and Earl of New-
castle, Earl of Ogle, Viscount Mansfield and Baron of Bolsiver, of Ogle,
Bothal, and Hepple, 1667, 2d ed. 1695.
** True Relation of the Birth, Breeding and Life of Margaret Cavendish,
Duchess of Newcastle, Written by Herself, Appended to the first, but not
the later, edition of Nature's Pictures.
"Cf. Sidney Lee in the D. N. B.
94
There is no differentiation of character, very little subjective
emotional analysis, and but slight variety in scenes and epi-
sodes. Most prominent among the stock themes is the story
of a young woman who having retired to the country to re-
cover from an unhappy passion was led by solitary meditation
" to religion," and shortly thereafter, was wooed and wed by a
worthy and devout young man, " a match far above her expec-
tations." Then there is the story of the pious country maid
who was preferred by the wealthy lord to the court beauties
on the score of her "virtue." Also, there is the tale of the
rake who was led to repent and to reform by his passion for a
pious woman, and was rewarded for his improvement by
winning her hand and her wealth. And finally, there occurs
the story of the pious girl who fell into a decline after the
death of her lover and soon joined him in immortality. The
heroines are all sensitive, emotional beings, less sophis-
ticated than Pamela, but not unmindful of the things of this
world. In their cult of nature, morbid sensibility, and senti-
mental piety they are closely akin to the heroines of the Rous-
seau school and to the Elsie Dinsmore of our own day. The
hero is the self-satisfied prig familiarized to us by Richardson
and his successors.
The popularity of Mrs. Rowe's prose and verse was very
great. Her Friendship in Death reached its third edition in
1733, its fifth in 1738, and was continuously printed until 1816.
Her verse History of Joseph, first printed in 1736 was in its
fourth edition in 1744, the Devout Exercises of the Heart,
edited by her admiring friend Dr. Watts, in 1737, was many
times reprinted until 181 1. In 1739, appeared a collection of
her Miscellaneous Works in Prose and Verse, which was re-
printed in 1744, 1750, 1756, 1772, and several times thereafter,
while as late as 1796, a still fuller collection was made. There
were two French translations of Friendship in Death, one in
1740 and the other in 1753. Moreover, she was most highly
esteemed by the literary men of the time. Prior was won by
her slim volume of mildly sentimental verse, Poems on Sev-
eral Occasions, issued in 1696. Dr. Isaac Watts wrote of
" her divine poems," and Pope thought so highly of her elegy
95
on her husband that he appended it to the second edition of
Eloisa to Abelard (1715). Klopstock and Wieland referred
to " die gottliche Rowe," " die himmlische und f romme
singer." Finally, Dr. Johnson (Boswell, I, 312), calls her the
earliest English writer to apply with success ' the orna-
ments of romance to religion. The only writer who had made
a like endeavour was Robert Boyle in the Martyrdom of St.
Theodora and he failed.'
We find the themes and the sentiments of these Letters present,
not only in other social treatises but also in the bourgeois trag-
edy and comedy, and in the many stories and sketches in such
periodicals as the Spectator, Tatler, Lover and Teor-Table. In
the writings of Steele and Addison we have the most perfect
expression of the ideal of the age in its finest conception.
There we find the perfect urbanity, the sound morality, the
staid composure, and the mild sentimentality (well within the
bounds of reason) to which all men aspired. " To instruct
and to amuse" was the purpose of these papers, and to that
end, the authors preached both directly and indirectly, told
illustrative stories, and wrote "characters" typifying the var-
ious virtues and vices. The stories, without exception, are
obviously didactic, and the authors showed much ingenuity and
narrative skill in utilizing Oriental tales, in adapting picaresque
stories and popular histories, and in turning to good account
letters from pseudo-travellers and sketches from domestic life.
In the Sir Roger de Coverley Papers, all that is needed is a plot
to make a novel of manners, but it is the plot, the series of inci-
dents, which is the essential feature of every narrative — the
characters, the setting, the dialogue are important, but never-
theless, subordinate elements. The periodicals of the Spec-
tator type were a most important factor in accelerating the
development of the novel of daily life, not so much on the
score of the narratives they contained, as because they afforded
an opportunity for the publication of the short minor forms.
Of the numerous devices which contributed to the novel we
have already commented upon the memoir, the letter, and the
social tract, but the " character " and the dialogue still call for
a few words.
96
In the words of Professor Cross,'' the character-sketch "as
conceived by Ben Jonson and Thomas Overbury " (and we may
add Joseph Hall) "who had before them a contemporary
translation of Theophrastus, was a sketch of some person,
real or imaginary, who embodied a virtue or a vice or some
idiosyncrasy obnoxious to ridicule. One character was set
over against another, and the sentences descriptive of each
were placed in the antithesis which the style of Lyly had made
fashionable." In other words, it was a device for attacking
the "humours" of the age in light satiric spirit, and such it
remained during the first quarter of the seventeenth century.
Shortly thereafter, it shared" with all other literary forms the
fate of being utilized by theological and political contro-
versialists. With the Restoration there was a return to lighter
vein, and follies and foibles instead of vices and theories
became the subject of attack. In the meantime, the expository,
antithetical method was adopted by the romance writers in
their perfectly serious portraits of individuals, and these in
turn, modified the later development of the character-sketch.
It was still further modified by being combined with the essay,
the letter, and the memoir, by being set in a descriptive or
narrative framework, and by being grouped with other " char-
acters."^ Practically every type of character-sketch can be
found in the Tatler and Spectator; in them can be traced every
stage of its development from the short, objective, impersonal
" anatomy " of a type, to the sympathetic delineation of a typ-
° Cross, Development of the English Novel, p. 24.
° For ampler treatment of this subject consult H. Morley, Character Writ-
ing of the Seventeenth Century, Carisbrooke Library, i8gi ; C. S. Baldwin,
" The Relation of the Seventeenth Century Character to the Periodical Es-
say," Pub. Mod. Lang, Ass. of America, 1903, xviii, and 1904, xix, and
" Character Books of the Seventeenth Century in Relation to the Develop-
ment of the Novel," Western Reserve Bulletin, Oct., 1900, and C. N.
Greenough, Studies in the Development of Character-Writing in England,
Unpublished Harvard Dissertation, 1904. Dr. Greenough is now revising
his dissertation which he hopes to publish within a short time as The
Character in the series Types of Literature.
'' Les Caractbres de Theophraste traduits du Grec, avec les Caract^res ou
les Moeurs de ce sikcle, by J. de la Bruyere, Paris, 1688, and translated into
English in 1708, was a particularly potent factor.
97
ical individual under many different circumstances. That the
novelists learned much from the " characters," there can be not
the least doubt. In the narratives of Mrs. Behn, Mrs. Manley,
Mrs. Haywood, Richardson, Fielding, and their contempo-
raries, there are numerous formal "characters," and the
method has survived in the novels of Scott and Dickens, and
indeed has not died out to this day.
The dialogue, although for many years a favorite device in
social tracts and news-pamphlets,'* was not so influential.
During the Restoration the Dialogues of Lucian were in high
favor and stimulated translations and imitations such as Tom
Brown's Dialogues of the Dead and the Living and the Dead.^
These in many ways suggest the Imaginary Conversations of
Landor, and although they lack entirely the finesse, poetry, and
exquisite phrasing of the latter, are by no means uninteresting
and sometimes show not only a keen sense of the dramatic
possibilities of the situation, and a lively sense of humour, but
also a comprehension of the characters. Particularly good are
the dialogues of " Dido and Stratonica," " Paracelsus and
Moliere," " Cortez and Montezuma," and " Mrs. Behn and a
Young Actress." Better than any of these are Prior's four
Dialogues of the Dead,^ of which perhaps, the best is the dia-
logue between " Mr. John Locke and Seigneur de Montaigne "
but the one between "the Vicar of Bray and Sir Thomas
Moor" is a close rival. The characterization is admirable,
and the style easy, natural, and witty. Swift's graphic Polite
Conversation is a series of little scenes that might well have
been presented on the stage. Novelists took lessons from such
dialogues in handling conversations so that the speeches should
be in character, and so that shades of meaning should be con-
veyed to the reader without editorial explanation.
While these contributory forms were being perfected, con-
siderable progress was being made in modifying the narrative
'* As in Tutchin's Dialogue between a Dissenter and the Observator con-
cerning the Shortest Way with Dissenters.
' a. Modern Novels, vol. xii.
'See Dialogues of the Dead and other Works in Prose and Verse, ed.
A. R. Waller, 1907.
8
98
to suit the new social conditions, and to make it conform to the
new moral standard. In the old novelle the merchants and their
wives often figure, but the entire interest centers on the epi-
sode, the participants are fixed types. Moreover, the pseudo-
classic canon of dramatic usage, that kings and princes alone
were suitable subjects for tragedy, or in other words for
serious treatment, was reflected in the contemporary romances
by the exclusion, except in comic scenes, of all characters not
of royal or at least gentle blood, and by the tendency to make
comic all episodes and novels of intrigue in which the bour-
geoisie figured. The serious and sympathetic portrayal of the
life of the middle class was essential for the perfection of the
novel of manners, and for that reason such early works of the
kind as the mediocre " histories " of Mrs. Haywood, Mrs.
Barker, and Mrs. Aubin deserve special comment.
Mrs. Eliza Haywood^"
We know very little about the facts of Mrs. Haywood's life.
She was born about 1693, and like her predecessors, Mrs.
Behn and Mrs. Manley, led a disreputable life in London until
her death, in 1756. Like them, too, she incurred the hate of
Pope, and it was in retaliation for his slanderous remarks that
she published her Female Dunciad (1729). Likewise, she
incurred the wrath of Swift, who described her as " the in-
famous scribbling woman." Scribble she certainly did, for in
the thirty-six years from her first publication, about 1720, she
wrote at least twenty novels, most of the contributions in the
Female Spectator, some plays, some poems ; she translated many
things from the French, and she published much personal and
political gossip. It is on the fiction, however, that her small
claim to fame rests. The exact date of the publication of many
of her works is unknown, but it seems highly probable that the
pseudo-histories like The Memoirs of a Certain Island Adjacent
" Cf. Sidney Lee, D. N. B. No detailed and careful work upon Mrs. Hay-
wood has been written and her bibliography is in a most bewildering state.
Some of her works have been lost, others are extant only in what purport
to be second or third editions, while her political pamphlets are more or
less confused with those of Defoe and other writers.
99
to Utopia (1725), and the Secret History of the Present In-
trigues of the Court of Caramania (1727), came early in her
literary career. The short novel of intrigue, somewhat on the
cloak and sword order, was always a favorite with Mrs. Hay-
wood, and her name is usually associated with such licentious
stories as Lassellia, or, the Self -Abandoned; The Rash Re-
solve; The Fatal Secret, or, Constancy in Distress; and The
British Recluse. These novels differ from those by Mrs. Behn
only in being less brilliant and in exhibiting an unhealthy
pathos. But Mrs. Haywood by no means confined herself to
such tales : she followed the fashion of the Portuguese Letters
in Letters of a Lady of Quality to a Chevalier (1724), of the
Oriental and didactic stories in The Adventures of Evaii, prin-
cess of Ijaveo (1736),^^ and in later life she closely imitated
Richardson in A Present for a Serving-Maid (1741), and less
directly in her best novels. The History of Miss Betsy
Thoughtless (1751), and Jenny and Jessamy (1753), while
the Epistles for the Ladies (1749-50) show the influence of
Mrs. Rowe. Yet long before the publication of Pamela, Mrs.
Haywood had made considerable progress in the sympathetic
recital of the conduct and emotions of ordinary men and
women under trying, and unusual, but still plausible conditions
of domestic life. Idalia; or, the Unfortunate Mistress which
appeared in 1723 or thereabouts, suggests in its opening scenes
Clarissa Harlowe.
The beautiful wilful Idalia, annoyed by her father's prohibiting her to
communicate with the attractive rake Florez, secretly corresponds with him,
and becomes involved in an amour without really caring for the man. He
lures her to his house and there betrays her to his lord. Other men
become involved. One of them seizes the helpless victim and carries her
oiif to a lonely country place, and there, Part I, concludes. Part II is
quite different, in fact, it is a wild romance, in which the heroine, while
eloping from the said country house, is seized by robbers and separated from
her lover. Her career is then not unlike that of a Greek heroine, for she
wanders over all Europe, is captured by pirates who tell her Oriental tales,
and finally, after a. chapter of misfortunes, discovers her quondam lover
living happily with his wife. At this point the author returns to realism
"Reprinted in 1741 as The Unfortunate Princess; or, the Ambitious
Statesman,
100
and aflfectingly describes the perplexity of the man and the grief of the
two women, the wife's attempt to poison both her husband and her rival,
and Idalia's forbearance. The Pope, being called upon to settle the matter,
decides that both women shall enter nunneries.
Part I is decidedly the better and is really remarkable for the
elaborate and sympathetic analysis of Idalia's feelings and be-
havior. In 1726, Mrs. Haywood progressed still further in
The Mercenary Loverj^'^^ reprinted with the Padlock in 1728.
In the first, we have the story of the ruin of a pure-minded girl
by the deliberate machinations of a bland villain, followed by
her discovery of his vileness, her resentment, her murder, and
the consequent public disclosure and punishment of his crime.
Althia and Miranda were two rich country heiresses and consequently
much sought for by eligible young men. On the proud and reserved Althia
no suitor made an impression, but the younger sister, the gay Miranda, was
wooed and won by Clitander, a young London merchant. To London the
couple went to live and with them took Althia. Clitander was a mercenary
soul, who had married Miranda purely for the sake of obtaining her money,
and he soon set himself to the acquiring of Althia's fortune as well. To
that end he corrupted her with evil books and soft speeches and finally
ruined her. Then, having won her entire confidence, he suggested that she
make her will, to which she having consented, he substituted a deed of gift
in his own favor, intending to murder her and have it look like suicide.
Unfortunately, she insisted upon reading the paper, and discovering the
cheat, threatened to reveal all and even went so far as to write letters, but
before they were dispatched he regained her confidence and took the oppor-
tunity to poison her. Miranda, fearing some foul play had killed her sister,
though never for a moment suspecting her husband, made a thorough inves-
tigation and brought the whole plot to light. On the strength of it she
secured a divorce, so that the mercenary Clitander lost all " the money for
which he had ventured his soul."
The girls are rather well drawn and the slow change in Althia
is portrayed with a power suggestive of Richardson, but the
"' This work is not attributed to Mrs. Haywood by any authority that
I have consulted. According to the 1726 title page it is "By the Author of
the Memoirs of an Island Adjacent to Utopia," [E. H.], and according to
that of 1728 " By the author of Reflections on the various Effects of Love.''
The B. M. cataloguers attribute it to Mrs. H. in the 1726 copy, but not in
the general bibliography. Certainly it seems more reasonable to attribute
it to her than to Mrs. Manley, as is sometimes done. Cf. The Article on
" Mrs. Manley " by G. A. Aitken in D. N. B.
101
characters have no personaHty. The Padlock, the com-
panion picture of " virtue rewarded " is, as in many other cases,
far inferior to " vice punished."
The youthful Violante was married to the old Lepido, and sincerely
intended to make him a faithful wife, but his jealousy and cruelty drove
her to such desperation that she finally yielded to the persuasions of an
old black slave and granted an interview to an unknown, but faithful, lover.
That night the lover appeared and carried her off to the home of his cousin,
where she lived virtuously until Lepido obtained a divorce, after which she
married the lover and lived happily ever after. In the course of the story
it develops that the hideous old slave was really the lover who had assumed
that disguise in order to obtain access to his mistress.
The plot, names, and setting might be those of an old Italian
or Spanish novel, and in all likelihood go back to some such
source, but the elaborate expositions of Violante's feelings and
the emphasis upon her " virtue " give a different impression.
The Disguised Prince; or, the Beautiful Parisian, which ap-
peared the same year, and which may, or may not, be as the
title page says " from the French," is another novel of manners
with romantic features. Here again the characters are human
but not individualized.
Blanche Bonin, a banker's daughter, corresponded with Samuel Solico-
fane, son of a German banker and friend of her father in order that the
young man might improve his French. It happened that the German
prince of that province wished to send his son to Paris to be educated, and
learning of the Bonins from the banker, seized the opportunity to send his
son under the name of Samuel. Blanche by her many wiles gained his
love; but before he had revealed to her his identity, he was forced to
return home. Shortly thereafter he heard she was married, and without
investigating, judged her false and utterly renounced her. After a time,
she, who had not married at all, became alarmed at his long silence and
went to Hanover to investigate. As luck would have it, she arrived just
in time for the funeral of the real Samuel, and supposing it her lover,
retired from the world. To add to her grief she received a spiteful note
from her lover (whom she supposed dead) in which he declared he ' cared
not a jiffy that she had been faithless, for he never had cared for her any-
way.' So great was her grief that she was ill for months. Just as she was
recovering she received a letter from another suitor in the handwriting of
her lover which, as she supposed him to have been dead a year, caused
her no end of surprise and confusion. Unfortunately the author did not
bring the story to a conclusion, or, at least, I have been unable to discover
the promised second part.
102
The rest of Mrs. Haywood's novels require no separate
comment for they dififer but slightly from the conventional
novelle. The Surprise; or, Constancy Rewarded is dedicated
to Steele, and I cannot help wondering whether that author
found the story of the girl who won back her faithless lover
particularly to his taste. Alinda, endowed with beauty and
wit, was sought in marriage by both Ellmour and Bellamant,
and being in doubt as to which to choose, she invited her
cousin, Euphemia, to spend a week or so with her and give an
opinion on the two suitors. Euphemia, although neither so
handsome nor so witty as Alinda, made up in good humour and
wealth what she lacked in looks, and had many suitors of her
own, but the only one for whom she cared had deserted her
for' a great beauty. Alinda discovered that this recreant lover
was Bellamant and immediately resolved to take Ellamour for
her husband. Bellamant continued in his career of duplicity,
but before long ended in a debtor's prison, where he repented
at leisure and above all regretted his " unhandsome treatment "
of Euphemia. The news of his misfortune had reached that
lady's ears, and she decided to save him. Disguised as a man,
she visited him in prison, paid his debt, and being assured of
his change of heart, revealed herself to him. The Princess of
Ijaveo is a curious little piece, so clumsy and crude as to be
quite worthless, yet with its wicked vizier, evil genii, good
spirits, enchantments, terrible storms, and cynical explanatory
notes, it is curiously anticipatory of Beckford's Vathek and
the Gothic romances. Jenny and Jessamy and Miss Betsy
Thoughtless fall outside the limits of this study, but in pass-
ing, it should be noted, that they are not close imitations of
Richardson's novels. They do, it is true, show the influence
of the new fiction very markedly, but the heroines, and espe-
cially Betsy, are more closely related to the impulsive Moll
Flanders than to the calculating Pamela or refined Clarissa.
The Female Spectator (1723), and the Tea-Table (1725),
contain much material from domestic life. The latter criticises
very sensibly the absurd sentimentality then current. In this
connection the story of Arabella, who " having been married
according to her wishes died of grief through thinking of
103
future misfortunes " is particularly noteworthy. Mrs. Hay-
wood's style has not the brilliancy or dash of Mrs. Behn's, but
is vigorous, natural, and colloquial to a fault. At its best it
resembles that of Defoe,"" but is not sustained at that level. To
conclude, Mrs. Haywood's fiction does not comprise anything
as good as Oroonoko or The Fair Jilt, but from the point of
view of the literary historian it is important, since it reflects the
growth of sentiment and tragic pathos and shows an advance
both in the subjective analysis of emotions and in the writing
of the " domestic history."
Mrs. Jane Barker
Less important and less interesting than the narratives of
Mrs. Haywood are those of Mrs. Barker. Of Mrs. Barker
herself we know nothing. Even Dr. Stanglmaier^^ who has
made a special study of this authoress has been unable to un-
earth any information about her life. From various allusions,
autobiographic passages, and numerous references to " Luca-
sia,"^^ we may infer that in her girlhood Mrs. Barker was one
of the younger members of that circle of country gentry which
had formerly surrounded Mrs. Katherine Philips. To these
early associations, no doubt, may be attributed her admiration
for " divine Orinda, queen of female writers " and her lifelong
partiality for the elaborate French romances. Her name first
appears as early as 1680, on the title page of Poetical Recrea-
tions: Consisting of Original Poems, Songs, Odes, etc., with
Translations: in Two Parts: Part I. Occasionally Written by
"" In this connection it is interesting to note that Mrs. Haywood was
associated with Defoe in the " Duncan Campbell literature," although in
just what way is not clear. It is not at all certain in some instances
whether a pamphlet is by Defoe or by Mrs. Haywood.
"^ For more detailed discussion see Mrs. lane Barker : Bin Beitrag zur
Englischen Literaturgeschichte, by Karl Stanglmaier. Munich, 1906. Dr.
Stanglmaier was chiefly concerned with the verse, which he has elaborately
analyzed.
^ Mrs. Anne Owen, to whom " Orinda " addressed some of her poems.
Cf. Upham, French Influence in English Literature, p. 356. From allusions
in her later works we know Mrs. Barker was on more or less intimate terms
with Mrs. Elizabeth Rowe.
104
Mrs. Jane Barker, Part II, By Several Gentlemen of the Uni-
versities and others. The conventional and proper verse
scarcely deserves the praise which one admiring " young gentle-
man " was impelled to address to the fair authoress :
" Thy Lines may pass severest Virtue's Test,
More than Astraea's soft, more than Orinda's chaste."
Thirty-five years elapsed before Mrs. Barker .again appeared
in print, and then it was not as a poet but as a writer of fiction.
In 1715 Curll published her Exilius; or, the Banished Roman,
which was followed by a translation of Fenelon's The Christian
Pilgrimage in 1718, by the Amours of Bosvil and Galesia in
1719, and by seven romances^* and two collections of miscel-
laneous pieces before 1726. After that Mrs. Barker's name
appears no more except on reprints of her popular romances.
Exilius^^ was " written after the Manner of Telemachus, for
the instruction of some young ladies of quality." Since, in the
opinion of Mrs. Barker " a learned lady was as ridiculous as a
spinning Hercules," the edifying discourses on history, govern-
ment, philosophy and the like, were subordinated to innumer-
able discussions on how a young lady should manage her
suitors, on filial obedience, and on points of etiquette. The
plot is a wretched medley of all the absurd adventures and
devices to be found in the romances. But though the adven-
tures are wild, the heroines are characterized by a matter-of-
fact common sense worthy of Pamela. One princess upon
being told that the gods would surely not disapprove of her
elopement, since the oracle had replied that
" The Gods will never disapprove
The sacred Bonds of mutual love,"
responded, that " Whatsoever the Gods might seem to consent
to in their dubious oracles, a young lady ought to interpret
"These comprise: Celia and Marcellus, or the Constant Lovers; The
Reward of Virtue, or, the Adventures of Clarinthia and Lysander; The
Lucky Escape, or the Fate of Ismenus; Clodius and Scipiana, or the Beau-
tiful Captive; Piso, or the Lewd Courtier; The Happy Recluse and The
Fair Widow.
^"Reprinted in 1726, 1736, 1743 and translated into German in 1721.
105
their meaning according to the dictates of filial obedience."
The misguided Scipiana has a way of interspersing moral re-
flections with an account of her past experiences that suggests
Moll Flanders.
" I gave under my own hand the certificate of my folly, and the signed
testimonials of my indiscretion, for sure there is not a greater imprudence
than for a young lady to write to her lover ; I am now sensible it ought
never to be done, no not even on the account of denials or reprimands."
And later she remarks :
" For 'tis certain no reproach is like self-reproach, nor any misfortune
so hard to undergo as what we draw upon ourselves."
Mrs. Barker's other romances, though they were not so
obviously educative, resemble Exilius. In them all, we find the
wildest romance mingled with the most matter-of-fact expres-
sion of commonplace moral sentiments and practical rules of
behavior. In two of her later works: A Patchwork-Screen
for the Ladies, Or Love and Virtue Recommended (1723), and
The Lining of the Patch-Work Screen (1726), she abandoned
romance for realistic and " instructive " novels. She declares
the manner to be entirely new, but it is merely the old device
of telling stories. The tales, in spite of Mrs. Barker's constant
lauding of the old romances on the score of their purity, are
not above reproach from the point of view of propriety, not to
say of morality. And such morality as she taught, is of that
peculiarly immoral variety that contents itself with keeping
within the letter of the law. Mrs. Barker taught virtue most
often by putting vice in the pillory, as in the " Story of Jack
Mechant in which the quintessence of wickedness is designed
and practised." More amusing and most enlightening as re-
gards Mrs. Barker's idea of virtue and its immediate tangible
reward is the story of Capt Manley.
Captain Manley, a hopeless rake, unhappily married to a jealous wife who
refused to give him sufficient money to continue his wild life, went to sea
to seek a fortune. He experienced nothing but storms and disasters, and
finally fell into the hands of the Turks and was made a slave. There he
remained in servitude for some time, till his widowed mistress fell a victim
to his charms, and offered him wealth and freedom on condition that he
would marry her. Although the temptation was great, the Captain, warned
106
in a dream by three dead companions, confessed that he was already married,
and that the laws of the Christians would not permit him to have more than
one wife at a time. Immediately was his virtue rewarded, for not only did
his mistress free him and supply him with funds, but on his return to
England, he found that his wife had died and at " the very time of his
honorable confession made him a legacy."
Mrs. Penelope Aubin
Another contemporary of Mrs. Haywood, Mrs. Penelope
Aubin, brought the novel closer to the narrative of adventure.
Of her life nothing at all is known, and she is not so much as
mentioned in the Dictionary of National Biography. Her
name first appears in 1721 on the title pages of two strange
medleys of romance, novel of manners, and popular his-
tory ; namely. The Life of Madam de Beaumont and The Strange
Adventures of the Count de Vinevil and his Family, and we
find it again in 1722 on The Noble Slaves and The History of
Genghizen,'^^ still again in 1726, on The Life and Adventures
of the Lady Lucy, in 1727, on a translation of the Illustrious
French Lovers, and finally in 1729, on another translation from
the French, The Life of the Countess de Gondez. These nar-
ratives are highly didactic and are not merely moralistic, for in
one and all there are strong pleas for the Catholic Church. Mrs.
Aubin confessed to a great admiration for Robinson Crusoe,
and we find her imitating it in shipwrecking her characters
on uninhabited islands and putting them through most extra-
ordinary adventures which she strove to describe with all the
realism and circumstantial evidence of Defoe. In addition,
she interwove one or more rather romantic love stories. The
most notable feature of her narratives is that in each and
every one there recurs the reaHstic story of a young girl or
virtuous woman resisting the advances of a charming rake in
favor of the " perfect lover," and being rewarded by worldly
goods for her " virtue," while her wicked tormentor is brought
to a horrible and disgraceful death. This edifying tale is
localized in a romantic setting such as the Orient, the fast-
nesses of Ireland, or the mountains of Wales.
"Translated from the French of Petis de la Croix. Although full of
anecdotes and marvels, it was presumably based on fact, and not intended
as fiction.
107
A very good idea of the varied attractions of Mrs. Aubin's
narratives may be gathered from the lengthy descriptive title
pages.^' Her best work, take it all in all, is The Life and
Adventures of the Lady Lucy, in which some of the descrip-
tions, such as the sack of the castle after the battle of the
Boyne, have real merit and are probably the records of an eye-
witness. In the preface to the reader, Mrs. Aubin states that
philosophy of life of which her novels are the exemplification.
" She [the vicious woman] will be unfortunate in the end, and her death
(like Henrietta's) will be accompanied with terrors, and n bitter repentance
shall attend her to the grave ; whilst the virtuous shall look dangers in the
face unmoved, and putting their whole trust in the Divine Providence shall
be freed from the miseries of this life, and go to the eternal repose.""
The translations are less romantic than her original work,
but are otherwise in the same style. The only notable story
in The Illustrious French Lovers^''^ is that of M. de Contamini
" The Life of Madam de Beaumont, a French Lady; Who lived in a Cave
in Wales above fourteen years undiscovered, being forced to flye France
for her religion, and of the Cruel Usage she had there. Also her Lord's
Adventures in Muscovy where he was prisoner some years, with an Account
of his returning to France, and her being discovered by a Welsh Gentleman,
who fetches her Lord to Wales; and of many strange accidents which befel
them, and their daughter Belinda, who was stolen away from them and of
their Return to France in the year 1718.
The Strange Adventures of the Count de Vinevil and his Family. Being
an account of what happened to them whilst they resided at Constantinople.
And of Mile. Ardelisia, his daughter's being shipwrecked on the Unin-
habited Island Delos in the Return to France, with Violetta, a Venetian
Lady, the Captain of the Ship, a Priest, and five Sailors. The manner of
their living there, and strange Deliverance by the arrival of a Ship com-
manded by Violetta's father, Ardelisa's Entertainment at Venice and safe
return to France.
The Life and Adventures of the Lady Lucy, the Daughter of an Irish
Lord, who married a German officer, and was by him carried into Flanders,
where he became jealous of her and a young Nobleman, his Kinsman, whom
he killed, and afterwards left her wounded . , , in a Forest. Of the Strange
Adventures that befel both him and her afterwards, and the wonderful
Manner in which they met again after living eighteen years asunder.
17a Preface, p. 10.
"'' The Illustrious French Lovers ; Being the True Histories of the Amours
of Several French Persons of Quality. In which are contained a great
Number of excellent Examples and Rare and Uncommon Accidents; shewing
the Polite Breeding and Gallantry of the Gentlemen and Ladies of the
French Nation.
108
which proved, according to the author, that " a poor virtuous
maid may get a good husband." More entertaining and in-
structive, is The Life of the Countess de Goiides.""
On the whole, the work of Mrs. Aubin is an interesting at-
tempt to introduce into one narrative the varied attractions of
the romance, the reahstic novel, the Oriental setting, and the
accurate description, and is significant in that the theme of
the struggle between an innocent girl and a conscienceless rake
receives considerable attention. Similar tendencies are re-
flected in a few sporadic works which are individually better
than any of the narratives of Mrs. Aubin, Mrs. Barker, or
even Mrs. Haywood.
Occasional Pieces
An attempt to combine the realistic love story and the novel
of incident somewhat on the plan of Mrs. Aubin is to be found
in the Unhappy Lovers; or, the History of James Welston,
Gent., a most curious mixture of love and travel, with a satiric
instead of a moralistic purpose. Decidedly better, is The
Lover's Secretary; or, the Adventures of Lindamira, A Lady
of Quality. Written by herself to her friend in the Country.
In XXIV Letters. Revised by Mr. Thomas Brown, the sec-
ond edition, London, 1/15.^^ This is the very realistic story
of various misunderstandings, quarrels, and reconciliations of
a young lady and her lover, as described by the lady herself.
The first fourteen letters are decidedly the best, the remaining
"° The Life of the Countess de Gondez, Written by her own Hand in
French. First she was a great beauty and chose an old count for her hus-
band when she was not eighteen, and then she fell in love with a young
lord, who was handsome and charming, and pursued her with all the arts
of love, yet she kept her virtue, preserved her reputation, and never was
guilty of one slip for above three years that her lord lived with her. But
what is yet more extraordinary, she mourned him. dead, without hypocrisy,
kept still up to the dignity of her character, and refused to marry the man
she loved, till she had paid tribute of a long mourning, more than duty
required, for her deceased husband; and that being fast, and her lover
m,aking some false steps, she conquered her passion and preferred a nobler
and more constant lover before him.
" There is no record of a first edition. I imagine that it is a modified
and amplified version of some French work.
109
eleven being commonplace in material and extravagant in style.
The spirit and style of the first letters is that of the narrative
comedies, full of dramatic situations and humorous descrip-
tions of incidents and characters. Mr. Spintext and Aunt
Xantippe are delightful caricatures, and such scenes as that
in which the irate lady discovers her supposed lover to be
married to her niece are essentially dramatic.
In the opening letter we learn that the writer, Lindamira, having been
led by the flattery of some sparks to enter into a flirtation with a married
man, is on the way to the country to avoid the attentions of her admirer.
In the coach she meets a young barrister, Cleomidon, whO' falls in love
with her. During her stay with her friends she becomes engaged to him,
but for various reasons keeps it a secret. The illness of her mother recalls
her to town and a few days thereafter her mother dies, leaving her without
a protector. Cleomidon is anxious to marry, but she insists upon waiting
a year, which leads to a quarrel and the breaking of the engagement. He,
in a huff, marries another — and repents at leisure. The next few letters
concern the numerous affairs of Lindamira's gay cousin, but toward the
end we learn that Cleoraidon's wife has died and that he has again become
engaged. A little later he meets his first love and a reconciliation is effected.
Less good is The Double Captive; or, Chains upon Chains,
containing the Amorous Poems and Letters of a Young
Gentleman, one of the Preston Prisoners in Newgate. Oc-
casioned by his falling in love with a Scotch lady who came
to visit his friend. Here again the first part, with its realistic
description of the prison and of the emotion unconsciously
aroused by the lady, far surpasses the conventional love letters
and insipid verse of Part II. Decidedly original is The
Distressed Orphan; or. Love in a Mad-House.^^
Annilia, a rich orphan, was kindly brought up by her uncle, who intended
to marry her to his son and thus keep the money in the family. The son, a
weak creature, immediately yielded to his father's wishes, although he had
no particular inclination for his cousin ; and Annilia half consented.
Shortly thereafter she met and fell violently in love with Marathon. Her
uncle, having discovered her passion, tried to hasten her marriage to his
son, and on her absolutely refusing, resorted to hard usage. Finally, he
"Reprinted as Love in a Madhouse; or, the History of Eliza Hartley.
The Distressed Orphan. Written by herself after her happy Union with
the Colonel, London, iSio. The style was modernized, the names changed,
and the moral omitted.
110
became desperate and giving out that her mind had become aflFected, com-
mitted her to a private asylum. Here, after a long search, her lover dis-
covered her, got himself committed, and by the aid of his servant rescued
the ill-treated Annilia. The truth having become known, the uncle and
his family were severely censured, and so high ran public opinion that the
son was forced to fly the country, and the father, scorned by his old friends,
died of a broken heart. " May all such base designers," concludes the
author, " meet the same fate ; let them in foreign lands wander unfriended,
unregarded, fit society only for Beasts of prey ; while the constant and sin-
cere meet with a. recompense proportionate to their merit, happy in them-
selves, and triumphant over those who seek to harm, to detract, or to preju-
dice them."
Its most remarkable feature is the humane protest against
the barbarous treatment of lunatics, and the generally en-
lightened attitude toward insanity. Last of all, but by no
means the poorest is, Alexis and Sylvia, the second novel in
the Constant Lovers (1736), "being the live and tender letters
that passed between them after her father had terminated
their amour" on the score of the suitor's poverty, and before
a kind friend had equalized their fortunes. Sylvia's letters
reveal independence, enterprise, and sprightliness of spirit.
Novels of a similar nature were translated from the French,
but not in appreciable numbers until the decade of the thirties,
so that in this case, the translations seem to have followed the
original works. The Unnatural Mother; being the Genuine
and most affecting History of the Tragicdl and Fatal Conse-
quences that attended the passion of a Gentleman of the Law
and a young lady of a considerable Family (1734), has the
realism that comes with the verisimilitude of external detail.
Marivaux's Le Paysan Parvenu and La Vie de Marianne, both
translated in 1736, are too well-known to require summaries.
They both show the tendency to deal sympathetically with the
bourgeoisie, to depict manners with great detail, and to center
the interest around the struggle between virtue and vice as per-
sonified in an innocent young girl and a rake.
The Oriental Tale
Besides the development of the " domestic history," two
new features appeared during the period — the Oriental tale
and the purely didactic story. The former enjoyed a mild
Ill
vogue. Miss Conant, in her interesting study of The Oriental
Tale in England^f has shown how the purely romantic interest
in the Orient, its use as a setting for romances Hke Tachmas,
Prince of Persia (1676), Almansor and Almanzaide (1678),
Altizira, Princess of Fess (1682), and many of the late, heroic
romances, led to its adoption for satiric purposes in Marana's
Turkish Spy (1698), and Brown's Amusements Serious and
comical calculated for the Meridian of London (1700) f^
for moral and philosophic purposes in tales like the Story of
Helim and Abdallah, contributed by Addison to the Spectator,
and in numberless other narratives in the periodicals. Genuine
Oriental tales were introduced, once more by the way of
France, in the opening years of the eighteenth century; The
Arabian Nights was translated about 1704 and was followed by
the Persian Tales in 1714, the Chinese Tales in 1725, and so
on. Their popularity, as Miss Conant points out, was due in
no small measure to the prestige given them by their vogue in
France. Their sentimentalism, their romanticism of spirit,
combined with their realism of detail, made a strong appeal.
Their influence on fiction would naturally be greatest on the
romance and novel of incident, since the interest of these
stories centers on the rapid succession of events and not on the
characters. The fairy tales of Perrault^^ and Madam d'Aul-
noy,^^ which in France shared the popularity of the Oriental
tales, did not arouse much enthusiasm in England until later
in the century.
The Fable, Apologue, and Educative Romance.
The term " didactic story " might almost be used to cover all
the fiction of the period, for the wildest romances and most
licentious tales were interlarded with sententious saws and
supplied with a preface stating that " to instruct and to amuse
is the end of all books of this nature," but strictly speaking the
=° The Oriental Tale in England in the Eighteenth Century, by Martha
Pike Conant, New York, 1908.
^ Cf. supra, p. 66.
^Translated 1729.
''Tales of the Fairies, Works, vol. iii, translated 1707.
112
didactic story includes only those narratives written to point
a moral, teach a lesson, or elaborate a theory, such as fables,
apologues, and semi-educational treatises. The fables were, for
the most part, translations through the French, of Oriental
originals, and more rarely of French imitations. The Fables
of Bidpai, of which a forgotten translation had been made by
Sir Thomas North in 1570,^* was re-translated in 1679, and
reprinted five times by 1800. ^sop's Fables were several
times printed, the most famous version being the metrical trans-
lation by Sir Roger L'Estrange in 1692. Of contemporary
fables in English, after we have excluded Gay's Fables and the
Countess of Winchilsea's metrical fables in imitation of La
Fontaine, the best, I think, are to be found in the Collected
Works of the Duke of Wharton (1727), but whether The
Cat and the Over-Bold Mouse and Chardonet, the Capthei
Gold-Finch; a Warning to all Prodigals are translated or origi-
nal, I do not know.
Closely related to the fable in style and spirit is the apologue,
likewise of Oriental origin. The best representatives in Eng-
lish are those in the Spectator, of which The Story of Hilpa,
Harpath and Shalum is perhaps the most generally known.
The attempt to cast the novel of intrigue and the short ro-
mance into the apologue mould produced a most incongruous
effect. Two novels by a Mrs. Arabella Plantin, contained in
the Works of the Duke of Wharton will serve as examples.
The first. The Ungrateful, or the Just Revenge, is a typical
Italian story of a woman who killed her husband who had been
so "ungrateful" as to desert her after running through her
fortune. The other. Love Led Astray; or, the Mutual Incon-
stancy is a courtly pastoral of crossed loves, ending in an ex-
change of sweethearts, from which tale Mrs. Plantin draws
the illuminating moral that a " shepherd can love as well as a
king." Somewhat akin to the apologue, is the proverb litera-
ture, of which species of writing, the most prominent author
" Under the title The Morall Philosophic of Donie &. It was reprinted
in 1601. In 1679 another version. The Instructive and Entertaining Fables
of Pilpoy came out and was reprinted in 1743. Still another version ap-
peared in JEsop Naturalized, brought out in 1711.
113
is Oswald Dykes. His Good Manners for Schools, or a
paraphrase upon Qui mihi, . . . , Done into English verse
(1700), Moral Reflections upon Select English Provei^b^
(1708), were several times reprinted; the latter in 1709 and
again in 1713. Neither the novel of incident nor the novel
of manners could borrow much from such short, impersonal,
formal stories as the fable and apologue, but in the premium
which these put upon singleness of purpose and clearness of
style their influence was most beneficial.
The third type of didactic story, the educative treatise, was
developed at this time and may be said to have been brought
into prominence, if not created, by Fenelon, who in his
Telemaque, utilized a romantic machinery somewhat similar to
that of the Argenis to exploit his educational theories.^' He
was followed by the Chevalier Ramsay in Les Voyages de
Cyrus (1727, 1730), by the Abbe J. Pernetti in Le Repos de
Cyrus and by the Abbe Terrasson in S ethos (1731), in all of
which there was much information upon historical and scientific
subjects. There were English versions of all of these.
Telemachus was translated in 1699, The Voyages of Cyrus in
1730, Sethos by M. Lediard in 1732; but the only English
work modelled directly upon these that appeared before 1740
was the inferior Exilius of Mrs. Jane Barker in 1715. Our
Sunday-school fiction and such edifying children's stories as the
Rollo series probably had their origin in a combination of the
learned educative narrative, the more popular social treatises,
and the sentimental pieces of such pious ladies as Mrs. Rowe.
To recapitulate, the novel or brief tale which during the
first half of the seventeenth century had fallen into desuetude,
returned to favor in the latter half, and before 1700 had sup-
planted the romance in popular favor. The short Italian
novelle which, condensed, modernized and vulgarized for many
years continued to fill such collections as The Delightful Novels
and Winter Tales, were the point of departure for the more
"^ In this connection may be mentioned the Oriental philosophic romance.
The Improvement of Reason, exhibited in the Life of Hai Ebn Yokdhan;
Written in Arabic above 500 years ago, by Abu Jaafar Ebn Tophail, which
appeared with slightly varying titles in 1674, i7o8 and 171 1.
114
romantic Spanish novels of the Cloak and Sword and for the
clever French novels of manners. Through the translations
and imitations of the latter by writers such as Mrs. Behn, the
much-needed realism, vivacity, and colloquialism was imported
into the heavy English prose fiction. In the same direction was
the influence of the sprightly Narrative Comedies. Realism
of emotional expression was learned from the Letters of a
Portuguese Nun, which incidentally gave prominence to the
device of the letter. With the turn of the century, we find a
reaction against flagrant immorality, together with a revival
of sentimentalism and a love of didacticism, reflected in the
social treatises, the fables, the apologues, the educational nar-
ratives, and the Oriental and fairy tales. All of these elements,
together with a conventional, middle-class point of view, an
increasing interest in self-analysis, and a realistic depiction of
manners, we find in the contemporary narratives, notably in the
domestic histories of Mrs. Haywood and the novels of Mrs.
Barker and her anonymous contemporaries.
CHAPTER IV
THE POPULAR FICTION— JOHN BUNYAN— DANIEL DEFOE
With the popular fiction, we come to the large mass of cheap,
artless, and ephemeral narratives, written for and read by all
classes of people from the uneducated apprentices and small
tradesmen to the court gallants. The majority are broadsides,
popular histories, or chapbooks, but others were written by
men of ability and fair schooling like Defoe. Nor must it be
assumed that even the chapbooks were familiar only to the
ignorant, for from the allusions in the drama, essays, fiction,
and memoirs, it is quite apparent that the children, if not the
adults, of all classes read them with delight.^ They became
part of the literary inheritance of the nation and thus in-
fluential in the moulding of all later forms of fiction. In
number they are legion and in variety infinite, so that we can
hope to do no more than glance at the most prominent types.
Exclusive of news-letters, of tracts on dreams, ghosts, palmis-
try, astrology, behavior, and of sundry collections of letters,
there are five groups : vulgar redactions of aristocratic fiction ;
legends, folk-tales and historical anecdotes; accounts of ple-
beian heroes both of the past and present; and last but not
least, journalistic pieces of all sorts. Least interesting
perhaps, are the versions of the romances, anti-romances, and
novels, for they merely reflect in ruder form^ the taste of the
educated. Before the Restoration, the redactions were chiefly
of the romances,- as, for example, Amadis, Bellianis, Palmeryn,
^ " When Guy of Warwick, Parismus, and Parismenus and Valentine and
Orson, and the Seven Champions of England were handed round the
school," Sterne's Life and Opinions of Tristram Shandy, Bk. v, p. 3.
Clonmel, ed. ii. 211.
' These prints are usually without dates, but in a few cases we know both
the redactor and the date, especially in the case of the work of Francis
Kirkman and Richard Johnson, which seems to have been a little revival of
the old forms. Amadis, by R. J., 1664; Bellianis, by F. K., 1671 ; The
115
116
Parismus and their less aristocratic compeers, Guy of Warwick
and Bevis of Hampton among the chivalric, and Pandosto,
Ciceronis Amor, Rosalynde, and the Arcadia among the Eliza-
bethan; but even before 1660, while the romances were still
" turned out," the taste for realism of the grossest kind, made
equally popular the condensations of picaresque miscellanies,
and such French novels of scandal as could be turned to the
ridicule of the French, as, for example, the French King's
Wedding, or the Royal Frolic. The heroic romances, the comic
romances, with the exception of Don Quixote,^ and the clever
novels of intrigue were rarely, if ever, vulgarized. Exactly
how much the writers of popular histories learned from these
redactions, and how much these in turn contributed to such
writers as Bunyan, Defoe, and Richardson it is impossible to
determine, but undoubtedly many devices were transmitted
from one to the other. The chief contribution was made by
the romances of chivalry, which, to repeat what has already
been said, emphasized the conception of the narrative as " the
whole life and principal adventures of some particular person
or persons," in contradistinction to the novel, which, like the
drama, confined itself to a certain set of closely related inci-
dents. The histories of Richardson and Fielding show the
combination, or the attempted combination of the two con-
ceptions, for, while we always are given " the whole life," the
interest centers on a certain group of incidents.
More interesting than the redactions are the legends, folk-
tales, and historical anecdotes, many of which have received
literary treatment at one time or another, or have found their
way into our nursery rhymes. Here, for instance, belong Jacke
and the Gyants, Simple Simon, The History of A. Apple Pye,
The Children in the Wood, Reynard the Fox, Friar Bacon,
Faustus, Fortunatus, and many more. Among the historical
anecdotes are The King and the Tanner, Jane Shore, Fair
Eighth Champion of Christendom, t. 1708, a rather satirical continuation,
Pandosto, in 1614, 1648, 1678, 1688, moralized and bound with losephus
in 1696. Ciceronis Amor, in 1605, 1611, 1616, 1628, 1639. The Arcadia
was condensed and printed in 1701 as The History of Heroic Acts.
" Cheap condensed versions appeared in 1689 and 1695.
117
Rosamond, Wat Tyler, Jacke Straw— aXX it will be noted demo-
cratic in character.*
Closely akin to the democratic anecdotes of royalty in dis-
guise are the " histories " of popular heroes like Robin Hood
and his famous band, who lived a merry, independent life in
defiance of the law, or like Whittington, Thomas of Reading,
and Simon Eyre, who rose from the lowest class to wealth and
eminence. The predominating note in one and all is the glori-
fication of the self-made man, and incidentally of the middle
class. This spirit at its best is preserved in the versions of the
old stories made by the sunny Elizabethan, Thomas Deloney.
He was the Dekker of prose fiction, and the exploits of Thomas
of Reading, John Winchcomb, Crispin and Crispianus, and
Simon Eyre, seem to have caught his inimitable buoyancy and
contagious joviality. The informing spirit is aptly expressed
in the following couplet on the title page of a quaint little
tale of Anglo-Saxon times:
" Though all things suffer by the hand of Fate,
I hope true worth will never out of date.''
Then follows the History of Bovinian (1656), who from a
henchman rose to be a thane at the court of Athelstane, wooed
and won the King's sister, and on the monarch's death was
elected his successor — all of which he accomplished by bravery
and ability. The temper in this, as in all the "histories," is
that of Philistine self-satisfaction. The virtuous are always
rewarded with the goods of this world, and have the pleasure
of defeating and punishing the wicked; the low-born hero is
never weary of bragging of his prowess, of exulting in his
power and wealth, and with ostentatious democracy " treating
all men alike." With the joviality replaced by a more con-
ventional and more conscious morality, the same spirit of
unquestioning optimism and assertiveness appears again in the
work of Defoe.
* Occasionally a political significance was attached to the story, as in the
case of Wat Tyler, which bore the sub-title " just reward of Rebels." The
Perplexed Prince (1682) utilized the old king and the peasant device to
make a plea for the Duke of Monmouth. The B. M. catalogue says that
this tract appeared before the date on the title page.
118
In the moral and religious tracts, which next claim our
attention, the spirit is entirely different — the theme is the
wickedness and weakness of man. Of the reformative tracts,
such as The Drunkard's Legacy, A Warning to Disobedient
Children, etc., it is unnecessary to say anything; out of them
great things never grew, yet they have continued to exist in
such edifying works of comparatively recent times, as Ten
Nights in a Bar-Room. A rare and pretty variation from the
usual form is the fairy tale of the Golden Eagle (1677).
Albertus, King of Arragon, falls ill of a languishing disease and is told
by his physicians that his return to health depends upon the recovery of
the Golden Eagle from the Queen of Ivyland. He sends his three sons, but
they disagree about the way, and the two elder rob the youngest and leave
him bound, in a wood while they continue the search. He is released by a
hermit and through the help of a kindly lady gains access to an enchanted
castle and there procures a horse that carries him to Ivyland. His request
for the Eagle is granted and he starts for home, but his brothers meet him,
seize the Eagle and hasten home to the father, who rewards them liberally.
The poor youth, Innocentius by name, manages after a time to return to
Ivyland. The Queen, enraged at the perfidy of the brothers, visits the
court, explains the whole story to the King, and after having the impostors
banished, marries Innocentia.
The religious tracts^ are less common than the moral. The
Scriptural paraphrases, biographical accounts of Saints, and
the like, are not important and far from numerous in prose, but
there were current a Life of Judas Iscariot, The Exodus, and
Genesis. Of those concerning conscience there are a number,
many of which have titles suggestive of Pilgrim's Progress and
may well have been familiar to Bunyan, who elevated and gave
final shape to these allegories. The most prominent are The
Voyage of the Wandering Knight, The Pilgrim's Passe to the
New Jerusalem by "M. K. Gent" (1659), Dent's Plain Man's
Pathway to Heaven^ and the ever popular Isle of Man, by
Richard Bernard, written in 1627 and in its fourteenth edition
in 1678.
" For a full bibliography of these see The Pilgrim's Progress, ed. Hanserd,
KnoUys Society, with an Introduction by G. Offer, 1847; and J. B. Wharey,
A Study of the Sources of John Bunyan's Allegories, University of Pennsyl-
vania Publications, 1904.
° Printed during the seventeenth century in 1607, 1637 and 1660.
119
The sensational news-narratives are the last, but by no
means the least, of the groups into which we divided the popur-
lar fiction. These were the "yellow journals" of their day,
printing anything for a sensation and at the same time pre-
tending to narrate actual facts. The aim was to produce
the effect of a literal description, whether the subject was a
supernatural wonder, such as The Full, True, and Particular
Account of the Ghost or Apparition of the Duke of Bucking-
ham's Father; a crime like The Bloody Tragedy or The
'Lawyer's Doom; a criminal biography such as The History
of Jacke of Neuihury, or the tales in the Newgate Calendar;''
a political tract such as The Royal Martyr; or the common
news of the town — elopements, tragic deaths, seductions, dra-
matic marriages, etc. — such as we read every day in our news-
papers. Defoe found these journalistic narratives at his hand,
and without deviating from their purpose, to create a sensa-
tion, or from their method, the production of the illusion of
actuality, he raised the ghost story, the criminal biography,
and the narrative of adventure "to the realm of literature."
As we shall see, his genius consisted in doing better than any-
body else what many had already attempted. With one variety
of chapbook, the love story, Defoe did little except in so far
as he utilized such material in Moll Flanders, Roxana, " Col-
onel Jacque" and his conduct-books.
The brief popular love stories form an interesting little
group, giving us peeps into the life led by the citizens and often
dealing with the same themes and situations to which Richard-
son was to give literary treatment. There was Love in a Pas-
sion without DiJcr^fio?^^ being an account of a well-to-do young
merchant who was so smitten with the beauty, discretion, and
virtuous conduct of a girl he met in a holiday crowd, that he
insisted upon marrying her forthwith, even when she "dis-
covered to him she was his friend's servant."
A trifle more literary is Amanda, the Reformed Whore
( 1635 ) , a prose and verse narrative by Thomas Cranley, which
recounts the courtship of the fair Amanda of questionable
reputation, by a prisoner who besought her to leave her evil
''The Newgate Calendar, London, 1728.
120
ways and so filled her heart with repentance that she died
of grief. A later and less tragic version of a similar story*
has a good young man convert the erring damsel and after
placing her as a servant in a worthy family, sail to foreign
parts. She conducted herself well for years, and then came
her reward! Her mistress died, and she became her master's
second wife, and lived happily with him until his death a
few years later. In the meantime, the good young man, who
had "gone over sea," had lost all his wealth in unfortunate
ventures, and returned penniless to London about the time that
the woman whom he had befriended was left a wealthy widow.
She, while out walking one day, recognizing in the poor beggar
her former benefactor, immediately renewed their acquaint-
ance, and married him out of hand that he might enjoy the
wealth he had been instrumental in procuring. "Thus was
their virtue rewarded."
Richardson's relation to the popular and ephemeral fiction
is not similar to that of Defoe. Precisely what his indebted-
ness was is most uncertain. His themes might well have
been derived from the drama and from hints in the periodicals
and conduct-books, yet there is something in the atmosphere, in
the style, and in the pervading materialism that savors of the
popular narratives. On the other hand, his point of view,
reflective, idealistic, almost romantic, and his conscious utili-
zation of devices and methods derived from the romances, the
novel, and the drama, make his work stand quite apart. In
speaking of the relation of the drama to fiction, it may be in
place to mention here that subjects such as filled these popular
histories were common in the domestic tragedies. Of these the
best are by Thomas Hey wood, and although his point of view
is very different from that of Richardson, centering upon the
man instead of the woman, yet in The Travellers, The Woman
Killed with Kindness and the Jane Shore episodes in Edward
IV, there is much similarity to the novels in the material,
narrow morality, the sensibility of the characters, and the
tragic pathos. In this connection it is interesting to note that
* The Reformed Whore. This has no date, but the B. M. catalogue gives
c. 1709.
121
Rowe re-worked the Jane Shore material in 1714, and that
Richardson particularly comments upon that play and The Fair
Penitent in Clarissa Harlowe. During these years, too, Otway
was much in vogue, and immediately before Richardson, came
Lillo's George Barnfield (1731), and Fatal Curiosity (1737),
and the sentimental comedies of Steele.
John Bunyan"
Pilgrim's Progress and Mr. Badman
In Pilgrim's Progress, Bunyan produced not only the most
perfect of English allegories but a masterpiece of prose nar-
ration. With the sources of the allegory, the device of the
vision and the conception of life as a pilgrimage, with its rela-
tion to the Faerie Queen and similar mooted points, we are not
concerned. The whole question has received careful attention
in an admirable study by James B. Wharey,^" who, after com-
paring Pilgrim's Progress in detail with Deguileville's Pilgrim-
age of the Life of Man, Cartigny's Voyage of the Wandering
Knight, Patrick's Parable of the Pilgrim, and more cursorily
with other allegories from The Table of Cebes to 1678, and
after taking into consideration many sermons and homilies with
suggestive themes and titles, comes to the conclusion that:
" Bunyan was among the last of a long line of allegorists, that
the concept had become common property, and that Bunyan
adopted the framework which had been handed down from De-
guileville through other allegorists, relying, however, for the
details of his allegory, not upon the works of his predecessors,
but upon his own invention. Bernard's Isle of Man and Arthur
Dent's The Plaine Man's Pathway to Heaven are the only
works from which Bunyan can be said to have borrowed, and
from these chiefly in The Holy War and Mr. Badman." If
Bunyan's debt to these popular allegories is so indefinite, that
° The Collected Works of John Bunyan, ed. George Offer, 3 vols., 1853.
^°J. B. Wharey, A Study of the Sources of John Bunyan's Allegories,
University of Pennsylvania Publications, 1904, and The Pilgrim's Progress,
ed. Hanserd, Knollys Society, with an introduction by G. Offer, London,
1847, which contains a valuable list of early allegories, etc.
122
to the Faerie Queen is even more a matter of conjecture. In
a comparatively recent article by Otto Kiitz,^^ the scattered
statements on this head, with the passages from Spenser, have
been collected, and it must be conceded that there is a general
similarity in many passages, notably between the House of
Holiness and the Cave of Despair, but there are equally strik-
ing differences even in these passages, so that, considering the
prevalence of these ideas and the improbability of Bunyan's
knowing Spenser, it is more than probable that the similarity
is wholly fortuitous.
As a narrative, and as such it concerns us, Pilgrim's Progress
goes back in structure, in the adventures with the giants, Apol-
lyon, and villainous " knights," in the " entertainments " at fair
palaces, in the succour of the weak, and other details, to the
romances of chivalry. There are, however, vital differences:
in the first place, Bunyan was primarily concerned with the
spiritual truth and allegorical parallel; in the second place, he
wrote in terms of the lesser bourgeoisie; tradesmen and shop-
keepers replace the ladies and gentlemen of the romances,
and their manners, customs, language and ideals supplant the
refinement and elaborate etiquette of the court ; and in the third
place, he substituted realism for romanticism. Idealism he
retained ; a loftier conception of the conduct of life is hard to
imagine, and his narrative was written to illustrate that life
without minimizing its difficulty. It was not presented as life
of poetic goodness led in an ideal world or golden age. His
characters are human men and women contending against the
temptations and evil^ with which we are all familiar, but doing
so in a nobler and more heroic spirit. Therein lies the success
of Pilgrim's Progress as an allegory, and much of its interest
as a narrative : it is our own world cast upon a higher plane,
possessing at once the charm of familiarity and the fascination
of novelty. Yet had Bunyan not been endowed with a wonderful
genius for telling a story. Pilgrim's Progress would never have
won and retained its tremendous popularity. It is often said
that Bunyan regarded himself as anything but a romancer, but
""The Faerie Queen and Pilgrim's Progress," by O. Kiitz, Anglia, 1899,
xxii. 33 sq. and 77 sq.
123
we should change the phrase to read " merely a romancer " ; for
Bunyan, having in his prefatory poem justified the use of
parables, and " baits " and " snares," frankly employed all the
devices known to narrative art in order to produce a vivid im-
pression. In his use of accurate detail to produce the illusion
of actuahty, in the naturalism of the characters, and in the
adoption of a vigorous, colloquial, yet dignified style, he was a
worthy predecessor of Defoe, whom he surpassed in spiritual
uplift and in certain phases of creative imagination. From the
artistic standpoint. Part I is decidedly superior to the continua-
tion. From the moment that Christian enters the scene in that
classic sentence : " I dreamed, and behold, I saw a man clothed
with rags, standing in a certain place, with his face from his
own house, a book in his hand, and a great burden upon his
back," until his entry into the New Jerusalem and the final
closing of the gates, the hero has our undivided interest.
There is not an extraneous episode, not an insignificant per-
sonage, scarcely a superfluous word, for even those easily-
skipped moral disquisitions are in perfect character. And
with what power are the characters drawn! With what nice
distinction are Faithful, Hopeful and Christian delineated,
and how lifelike Mr. Timorous, Mr. Talkative and Mr. By-
Ends! Part II, while distinctly inferior as an allegory and
somewhat so as a narrative, is far more genial in tone and
richer in pictures from homely life; there are the family ties,
lovable Christiana, Mercy, one of the first of a long line of
sweet young girls in English fiction, Great-Heart, as brave and
true as Christian, but less aggressive than that militant hero.
We have a domestic history of the whole family such as does
not occur again till the end of the next century. What success
Bunyan would have attained had he set about writing mere
fiction, we can guess from little episodes such as that of Mr.
Brisk and Mercy which in lightness of touch and naturalism
are equal to anything in Defoe or Richardson.
Mr. Brisk having offered his love to Mercy, she very wisely inquired
concerning him of the maidens in the house and finding that " he was, as
they feared, one that pretended to religion ; but a stranger to the power of
that which is good," decided to have none of him. " Prudence then re-
124
plied that ' there needed no great matter of discouragement to be given him,
her continuing so as she had begun to do for the poor would quickly cool his
courage.' "
" So the next time he comes, he finds her at her old work, a-making of
things for the poor. Then said he, ' What ! always at it? ' ' Yes,' said she,
'either for myself or for others.' ' And what canst thou earn a-day ? '
quoth he. ' I do these things,' said she, ' that I may be rich in good works,
laying up in store a good foundation against the time to come, that I may
lay hold on eternal life.' ' Why, prithee, what dost thou with them ? ' said
he. ' Clothe the naked,' said she. With that his countenance fell. So
he forelore to come at her again and when he was asked the reason why,
he said, that ' Mercy was a pretty lass, but troubled with ill conditions.' "
" When he had left her. Prudence said, ' Did I not tell thee, that Mr.
Brisk would soon forsake thee? yea, he will raise up an ill report of thee;
for, notwithstanding his pretence to religion, and his seeming love to Mercy,
yet Mercy and he are of tempers so different, that I believe they will never
come to-gether.' "
" ' I might have had husbands afore now ' (said Mercy) ' though I spake
not of it to any ; but they were such as did not like my conditions, though
never did any of them find fault with my person. So they and I could not
agree.' " "
Even more remarkable is Bunyan's sympathetic treatment
of the "boys"; for example, the description of Matthew's
illness in the House of the Interpreter.
" When the potion was prepared, and brought to the boy, he was loath to
take it, though torn with the gripes as if he should be pulled in pieces.
' Come, come,' said the physician, ' you must take it.' ' It goes against
my stomach,' said the boy. ' I must have you take it,' said his mother.
' I shall vomit it up again,' said the boy. ' Pray, Sir,' said Christiana to
Mr. Skill, ' how does it taste ? ' 'It has no ill taste,' said the doctor ; and
with that she touched one of the pills with the tip of her tongue. ' Oh,
Matthew,' said she, ' this potion is sweeter than honey. If thou lovest
thy mother, if thou lovest thy brothers, if thou lovest Mercy, if thou lovest
thy life, take it.' So with much ado, after a short prayer for the blessing
of God upon it, he took it and it wrought kindly with him."^'
The Life and Death of Mr. Badman, while inferior to Pil-
grim's Progress, of which it is the counterpart, is nevertheless
a most interesting narrative. The dialogue framework is awk-
ward, the hero's character repulsive, and the sermons and argu-
'" Pilgrim's Progress, Offer ed. ii. 200-01.
^ Ibid,, p. 202.
125
ments too numerous, but these defects are almost counterbal-
anced. The personalities of the authoritative Mr. Wiseman and
the eager Mr. Attention are nicely and consistently differen-
tiated, the comments and moral reflections are all appropriate,
the illustrative stories to the point, and the daily life of Badman,
his wretched wife, and their neighbors, is pictured vividly and
with wonderful precision. There could be no better proof of
Bunyan's aesthetic sense than the simple description of the
death of the heart-broken wife and the equally peaceful end of
her wicked husband. In a few graphic phrases he sets a
homely scene or dramatic situation before us more effectively
than Richardson with his quantities of minute detail. Inci-
dentally, it is interesting to find Bunyan using, though pre-
sumably without any intention to deceive, such a device for
gaining credence as the backing up of one improbable story
with another, and vouching for its truth on the reputation of
the narrator, a device which we associate with Defoe.
Grace Abounding to the Chief of Sinners, is not, strictly
speaking, fiction, but neither is it a literally true account of
Bunyan's life. His sensitive conscience and vivid imagination
caused him to picture his spiritual experiences in the most glar-
ing colors. In relating these personal experiences he displayed
great, though unconscious, art, in subordinating the unim-
portant, in elaborating the significant, in seizing dramatic possi-
bilities, in blending the objective and subjective events of his
life, and in firing the whole with his fervid religious enthusi-
asm. The Holy War has very little narrative element, but in
common with all of Bunyan's work, it contains many inter-
spersed anecdotes which would themselves prove his genius
for story-telling.
As was to be expected, Pilgrim's Progress and Mr. Badman,
and more particularly the former, were immensely popular.
The first part of the allegory appeared in 1678, and had
reached its fourteenth edition in. 1702, and its twenty- fourth in
1743 ; while part II, which did not appear until 1684, was in its
fourteenth edition in 1743. There were, moreover, a spurious
second part; a burlesque Hue and Cry after Conscience (1684),
at least two similar allegories by Benjamin Keach, Travels of
126
True Godliness {169,4), and The Progress of Sin (1685), imita-
tions so close as to be little better than redactions ; and two verse
versions of the original.^* References, after 1700, are common,
and although Young, Addison, Lady Mary Montague, and
Swift, seem to have regarded it with varying degress of
condescension, there were a few, like Cowper, who perceived its
literary merit, and whether complimentary or otherwise all these
allusions indicate that the work was well known, if not ad-
mired, by the educated.^** By 1700, or at the latest 1719, when
Gildon wrote, it was familiar to every child and had become
part of the common inheritance of the nation.^^ It would
seem natural then, for it to have had a strong influence on the
narrative and on the development of fiction generally, but such
is not the case. An Account of some Remarkable Passages in
the Life of a Private Gentleman; with Reflections thereon?-^'-
(1708), shows not so much direct copying from Pilgrim's
Progress, as the wide-spread interest in the portraying of the
spiritual or moral life of a character. Passages like the follow-
ing are unusual for though moral precepts were rife, religious
fervor was rare.^®
" O let my Soul Bless Thee, my dear God, that when I thus forsook Thee,
Thou didst not, as I deserved, cast me off utterly. Wonder, O my Soul at
thy own desperate folly, and the amazing Patience and Goodness of God !
never forget it, to maintain Humility, Watchfulness, Prayer and Contin-
uous Praise."
On the whole, Bunyan's work stands apart as the culmination
"One in 1698 by Ager Scholan, the other in 1700 by Francis Hoffman
Gray. There is a full list in Brown's Life of John Bunyan,
'"' For a collection of the various opinions expressed by the literary people
of the eighteenth century see the Saturday Review, Aug. 7, 1880, XLVIII.
167.
^ Charles Gildon writes in his Life and Surprising Adventure of Mr,
DeF., etc., 1719. "There is not any old Woman, that can go the Price of it,
but buys thy Life and Adventures (of Robinson Crusoe) and leaves it as a
Legacy with the Pilgrim's Progress, the Practice of Piety and God's Revenge
against Murther to Posterity." Quoted by Lee, Daniel Defoe, his Life and
Hitherto unknown Writings, i. 298.
^^ This work is sometimes, though erroneously, attributed to Defoe.
^°In The Autobiography, p. 418, A. R. Burr lays considerable stress on
the religious fervor and introspective qualities of the group of Quaker
journals, some thirty-eight, written between 1660 and 1710.
127
of the allegory rather than among the sources of the novel of
domestic life.
Daniel Defoe^'
Daniel Defoe served his apprenticeship in literature as a
journalist and throughout his life retained the journalistic
point of view. His subjects are always opportune, his title-
pages " catchy," his methods sensational, and his style collo-
quial. Yet his is a success not to be attributed merely to re-
portorial cleverness or literary trickery; on no such superficial
basis would Robinson Crusoe have become a world classic.
Just how much Defoe had done in the field of prose fiction
prior to the publication of Robinson Crusoe in 1719 is uncer-
tain. Training in narrative art was afforded by compilations
of descriptive and illustrative anecdotes such as The Storm
(1704), by expository accounts of political transactions such
as The Secret History of the October Club (1711), The Secret
History of the White Staff (1714), and the like. Moreover, as
early as 1705, he had tried his hand at something like a political
romance in The Consolidator, and the succeeding year in The
True Relation of the Apparition of one Mrs. Veal, so long re-
garded as a pure invention,^^"- he had proved himself a master
reporter. In the latter we find all the little devices for gaining
credence — the abundant and often irrelevant detail, the plaus-
ible but fallacious reasoning, the apparent disinterestedness of
the narrator, and the clever answering of doubts and misgiv-
ings — which are so conspicuous in his later writings. In 1715)
we find him trying his favorite form, the autobiography, in the
History of the Wars of his present Majesty Charles XH, King
of Sweden, for he put the military history of that monarch in
"W. Lee, Daniel Defoe: His Life and Recently Discovered Writings, 3
vols., London, 1869.
Novels and Miscellaneous Works, etc., 20 vols., Oxford, 1840-41.
W. P. Trent, " Bibliographical Notes on Defoe," The Nation, June 6,
July II, Aug. 15, and 29, 1907; LXXXIV. 515; LXXXV. 29, 140, 180.
To Professor Trent I am greatly indebted for information and suggestions
about Defoe's narratives.
17a cf^ " xhe Apparition of Mrs. Veal " by G. A. Aitken in Nineteenth
Century, 37. 95, 1895.
128
the form of a memoir of a " Scots Gentleman in the Swedish
Service." In 1718, came the Continuation of the Letters of a
Turkish Spy,'^''^ and finally, in An Historical Account of the
Voyages and Adventures of Sir Walter Raleigh (1719), Defoe
dealt with the material he utilized so largely in his narratives.
Such, in the main, is what we know of the author's special
preparation to write Robinson Crusoe, although it is not im-
probable that he revised or translated, in part at least, some of
the numerous memoirs then current.
The Life and Strange Surprising Adventures of Robinson
Crusoe of York, Mariner, appeared on April 25, 1719, and on
August 8, of the same year was reprinted for the fourth time.
At about the same date as the fourth edition, Defoe published
The Farther Adventures of Robinson Crusoe, Being the Second
and Last Part of Us Life, and the ensuing year 1720, Serious
Reflections of Robinson Crusoe, but neither of these is com-
parable to the first part, and indeed, it is no exaggeration to
say that upon that alone rests the fame of the work. The
universal and perennial interest of Crusoe's problem on the
uninhabited island was developed to the utmost by the author's
skilful treatment. In the hero, Crusoe, who successfully
overcomes all his difficulties not by the help of unusual powers
or supernatural assistance, but by ingenuity, pluck, and hard
labor, we have a universal type; the embodiment of efficiency
and the ideal of the practical man. This very human char-
acter is presented to us by Defoe with marvellous force and
consistency. As Mr. Lee expresses it "every moment of his
waking day is accounted for," we know his thoughts, his
sensations, his hopes, his fears, his every movement. Crusoe
is, however, primarily a man of action, and his sensations even
in the classic instances of the discovery of the foot-print and
Poll's calling him by name, are largely described in terms of
the resultant action. The memoir structure is particularly
happy, for it permits the hero to talk directly to the reader
and gives an air of naturalness to the interpolated moraliza-
tions, explanations, and running comments on the past.
The second part, concerning Crusoe's adventures in " Three
""Accepted as Defoe's by James Crossley and Professor Trent.
129
Parts of the World," although giving a vivid relation of
travels in China and Russia and displaying Defoe's usual
accurate knowledge and firm grasp of the subject, comes as
an anti-climax to the more interesting episodes on the island.
In the Serious Reflections the didactic element which is prom-
inent throughout the narrative becomes paramount. Defoe
did not write Robinson Crusoe, to inculcate a moral lesson in
the sense that Bunyan wrote Mr. Badman, but on the other
hand, his didacticism is no superficial and perfunctory com-
pliance with the prevailing taste. A further unity is given
to the narrative by the fact that all Crusoe's disasters arose
out of his discontent with that " state of life unto which it had
pleased God to call him." It was this discontent which in-
duced him to run away to sea in defiance of the wishes of his
parents, it was discontent again that led him to leave Brazil
on his disastrous trip, and it was discontent that led him to
leave home and children to revisit his island. Defoe regarded
this restlessness as an evidence of presumption and ungodliness,
invariably leading to a reckless life and a scornful disregard
of warnings and admonitions. Disaster brought the hero to a
recognition of his evil life and hence to repentance and reform.
Defoe's religion, as exhibited in his fiction,^^" is clear, practical,
and very satisfactory, but painfully lacking in spirituality and
emotion. He demanded little more than the acceptance of a
general creed, compliance with certain ceremonies and observ-
ances, and obedience to moral precepts, — in a word the religion
of common sense.
In Captain Singlet on,^^ Moll F lander s,^^ Colonel Jack/"
and Roxana/^ Defoe combined material collected from the
"" In some of his tracts, as, for example, Due Preparations for the
Plague, a much more spiritual religion is expounded.
" The Life, Adventures, and Piracies of the Famous Captain Singleton,
etc., 1720.
" The Fortunes and Misfortunes of Moll Flanders who was born in New-
gate, etc., 1722.
'■" The History and Remarkable Life of the truly Honourable Colonel
lacque, vulgarly called Col. Jack, etc., 1726.
'^ The Fortunate Mistress; or a History of the Life and Vast Variety of
Fortunes of Mile, de Belau, etc., 1724.
10
130
prolific criminal literature and the narratives of adventure.
Except in so far as Defoe was dealing with crime from the
point of view of the criminal, his narratives have little in
common with the Spanish picaresque miscellanies. His
models were the biographies of actual criminals, of which he
himself wrote a number. With inimitable seriousness these
very real, and very English, criminals tell us their plausible
stories. They are not bad at heart, but are forced by circum-
stances into their evil ways, gradually become hardened, and
go from bad to worse. Selfish they certainly are and they
always have an eye to the main chance, but they are rarely un-
grateful or unkind, nor have they any of the roguishness,
cynicism, or cruel deviltry of the picaro. They are never en-
tirely happy or contented, but are perpetually longing to desert
their evil ways for an honest life, or rather, what that life
stands for — respectability. They never do reform, however,
till well on in years, when a life of adventure has little attrac-
tion. Capt. Singleton and Col. Jack, children of shame and
social outcasts from childhood, become lawless sea rovers,
the one a pirate, the other a contraband trader, and in the
accounts of their voyages Defoe displays the most minute
information as well as wonderful descriptive powers. Bob
Singleton's trip across Africa is convincingly vivid and accu-
rate. Moll and Roxana, likewise, are handicapped from child-
hood, but not to such an extent as Bob and Jack. Moll,
being pretty and clever, attracted the attention of a wealthy
lady who brought her up almost like one of her own children.
Her ruin was wrought by the eldest son of her patroness.
Thus in the opening chapters we have a situation somewhat
similar to that in Pamela, but Moll did not display the wit
and resolution of Richardson's heroine. Neither Moll nor
Roxana are distinctively feminine, in fact, the difference in
sex merely affects the nature of their adventures. It is curi-
ous that Defoe's characters although as substantial and, if I
may say so, as tangible, as any in literature, possess little or
no individuality — they are simply "human nature."
In structure, these narratives, like Robinson Crusoe, are
autobiographic. Roxana, the only one of Defoe's stories, in
131
which there is an endeavor to develop a plot, is, I think, his
most studied contribution to prose fiction.
Roxana, deserted by her husband, in' order to obtain for herself the
luxuries that she craves, deserts her children. For years she leads an
evil, yet from her point of view, successful, life, but finally, when she has
attained her ambition — a wealthy and titled husband — her ruin is brought
about by the children she deserted. When her husband learns from them
of her perfidious character he will have no more to do with her, and cuts
her off absolutely in his will, so that she is taken to a debtor's prison,
where, we are told, she dies repentant. (This part is in the continuation
which may not be by Defoe.)
Although Defoe seems to have tried to individualize Roxana,
even to give her peculiarly feminine traits and mannerisms,
he failed to make her quite human. She is too calculating to
make an appeal to our sympathies like the impulsive Moll
Flanders. The minor characters are still more inconsistent
and unnatural. Yet Roxana is a notable piece of work, for in
it Defoe went a little higher in the social scale and thus came
nearer to the novel of manners, and, more important, attempted
the " circular plot," which at this time was practically unknown
except in the cumbersome romances and brief novelettes. The
plot, it must be admitted, is clumsy, many of the episodes are
extraneous and many of the situations forced, but surely as an
experiment it is not deserving of unmitigated censure.^^* The
didactic element is prominent for although Defoe chose crime
for his subject and did not think it necessary to execute strict
poetic justice by bringing all his heroes and heroines to an
evil end, yet he tried to make his narratives as wholesome as
possible, by emphasizing the miseries, uncertainties, and suffer-
ings attendant upon vice. The next generation demanded a
greater regard for the proprieties, and as a consequence. Noble
revised Defoe's Roxaim to make it conform to the Richard-
sonian standard.^^
Defoe's other narratives, whether of real or fictitious char-
acters, do not differ materially from those we have discussed.
^» Cf. Chandler, Lit. of Roguery, ii, 296-98.
^^ The History of Mademoiselle de Beleau ; or the new Roxana, the fortu-
nate Mistress, etc., F. Noble and T. Lowndes, London, 1775. The B. M.
catalogue gives the date 1808 ; but Professor Trent tells me that in his copy
the date 177s is clearly printed.
132
In the justly praised Memoirs of a Cavalier (1720), and A
Journal of the Plague Year (1722), he applied his reportorial
methods to the past and produced such graphic pictures of the
preceding century that both works have often been regarded
as literally true. In The History of the Life and Adventures
of Mr. Duncan Campbell, and in one or two pamphlets^* deal-
ing with the "dumb philosopher" in which Defoe seems to
have had some part, we have a more or less fictitious biography
of Campbell in Defoe's usual convincing manner, combined
with realistic pictures of the philosopher's clientele and
anecdotes dealing with magic, apparitions, and the like. The
supernatural seems to have had a fascination for Defoe, since
time and time again he returned to discussions of it, as for
example in The Political History of the Devil (1726), A
System of Magick (1726), and An Essay on the History and
Reality of Apparitions (1727). Domestic life does not
figure prominently in the narratives, but many interesting
anecdotes and illuminating descriptions of contemporary man-
ners occur in the aforementioned Duncan Campbell (1720)
in such treatises as The Compleat English Tradesman (1725),
The Great Law of Subordination Considered (1724), a dis-
cussion of the servant problem, and in manuals of conduct of
which The Family Instructor (1718),^* and Religious Court-
ship (1722) are the best.
The first of these little treatises discusses problems affecting
family life. For example, one of the first illustrations con-
cerns filial obedience. In a family which had been most
irreligious and particularly negligent about the observance
of the Sabbath, both parents suddenly resolved to reform, and
without the least warning, issued orders on Sunday morning
that the children were not to use the coach, play cards, go
calling, read secular literature, or in short, indulge in any of
their accustomed worldly pleasures. The oldest son and
daughter, irritated by the peremptoriness of the decree and
angered by the ruthless destruction of their novels and plays,
*'As was remarked in connection with Mrs. Haywood, it is not quite
clear which of these pieces are by Defoe and which by her.
" A similar treatise, the New Family Instructor appeared in 1 729.
133
were most impudent and insubordinate, and only after many
tempestuous scenes were brought to a proper sense of their
duty. A pleasant contrast was afforded by the pious and
servile behavior of the younger children. Defoe presents this
material in a series of dialogues, or little scenes, connected
by the necessary explanations. In Religious Courtship he
employs the same method to show " the necessity of marrying
religious husbands and wives only." A most attractive and
wealthy suitor applied for the hand of the youngest of three
sisters, thus proving he was seeking for her in particular and
not merely for an alliance with the family. Although much
flattered by his attentions, she resolved to obey the behest
of her dying mother to marry only " a religious husband."
Upon investigation, she found her promising suitor was of
" no religion," so, though " it did violence to her inclinations,"
and brought down the wrath of her irreligious father, she re-
jected him. In time the young gentleman was brought to
a consideration of his evil ways and under the guidance of
a good old man, a poor tenant on his estate, became a most
devout Christian. And in due course he married the lady,
with whom he lived very happily for the rest of his life. The
second sister did not concern herself with her suitor's religion
but "left it all to her father," with the consequence that she
found herself married to a " Papist." The husband lived
only a few years, and in a discourse with her sisters shortly
after his decease his widow expatiated on the sorrows of
marrying even the best of men if he were of dififerent religious
convictions. Of the didactic eldest sister we are merely told
that she married " a worthy man." In both these manuals
there are other stories, and in all cases the slight plot is almost
hidden by the didactic material. The characters are but
slightly individualized, — indeed, are but mouth-pieces to ex-
pound Defoe's theories. Nevertheless, in these manuals De-
foe brought the conduct-book as close to the novel of manners
as was possible without running into the narrative form; we
have a rudimentary plot, outlines of the characters, and a
rough description of the setting and accessories. Moreover,
in these two series of dialogues, not only do the characters talk
134
with much naturalness and directly to the reader, but each
episode is discussed from several points of view, a device
somewhat similar to that employed by Richardson in Clarissa
Harlowe.
On Defoe's purely literary qualities— his admirable style,
his various devices for giving the impression of verisimilitude,
his wonderful powers of description and narration — it is not
necessary to comment. Most of these devices may be found
in rudimentary form in the works of his predecessors, Mrs.
Behn, Mrs. Manley, John Bunyan, Mrs. Haywood, and the
host of anonymous journalists, but never before had they been
so artistically perfected and combined. And finally, Defoe
was a man of genius; never before and rarely, if ever, since,
has a writer been able to give to the fictitious such a semblance
of the actual.
Defoe's influence on the development of prose fiction is very
difficult to estimate. All his works, and particularly Robinson
Crusoe were immediately popular in both England and France.
But in them, as we have seen, the pseudo-journal and auto-
biography culminated, further development along these lines
was impossible. Mrs. Aubin, who made a point of imitating
Defoe, simply added a goodly portion of adventure to a senti-
mental romance, and Abbe Prevost^^ whose somewhat closer
imitation of Defoe, Le Philosophe anglois (1732-39), was
translated as The Life and Adventures of Mr. Cleveland,
natural son of Oliver Cromwell, ^^ in 1736, added a political
scandal, a love story, and sentimental descriptions of the In-
dians. To the novel of manners and sentiment, Defoe con-
tributed directly, very little, but both The Family Instructor
and Religious Courtship afforded many suggestions both as
regards matter and manner. It would be interesting to know
^ Abbe Antoine Francois d'Exiles who lived from 1691 to 1763, wrote
many romances, chief of which is Memoires d'un Homme de Qwalite
(1728-32), containing the famous story of Manon Lescaut. He wrote later
the Doyen de Killerine, historie morale (1735), and translated among other
things, Richardson's Pamela, Clarissa, and Grandison. Cf. Larousse, Dic-
tionnaire Universel du XIX^ sikcle.
" This has even been attributed to Defoe.
135
if Richardson was particularly indebted to them.*'' On the
whole, Defoe's significance in the history of fiction, over and
above his actual contribution, rests not on the introduction of
new forms or subjects, but on the perfecting of what was
already in existence ; and his influence is reflected less in imita-
tions than in the firmer grasp, the more vigorous style, and
the greater naturalism, displayed in all forms of literature.
" It is an interesting fact that Richardson printed and continued Defoe's
Tour thro' the whole Island of Great Britain.
■ CONCLUSION
In the foregoing discussion it has often happened that works
of small value have been emphasized, while famous classics
have been despatched in a few lines, and that at times, perhaps,
too little attention has been paid to chronology, but the
writer hopes she has succeeded in conveying a fairly accurate
idea of the prose fiction current between 1600 and 1740 and
of the tendencies which affected its development. Reviewing
the subject very hastily from the chronological point of view,
we may distinguish three periods; the first, extending from
1600 to 1660 or thereabouts, is characterized by the predomi-
nance of romance; the second, extending from about 1660
to the close of the century, by the vogue of the continental
novels; and the third and final period extending from 1700
to 1740, by a growing independence and increased activity.
The first period produced no English narratives of merit or
of historical importance, but the famous sentimental, pastoral,
allegorical and heroic romances of France — Astree, Argenis,
Cleopatre, Cyrus, etc. — were given an English dress. More
popular than any of these was Cervantes's great comic romance
Don Quixote, which indicates that a strong taste for realism
already existed. About 1660, this taste for realism became
so strong that the romances were superseded in popularity
by realistic French and Spanish stories developed from the
novelle and greatly modified during the process. Their chief
characteristics, immorality, impudence, pretended veracity,
abundant detail, and lively colloquial style, were imitated by
Mrs. Behn, Mrs. Manley and others. Also to this period
belong the influential Letters of a Portugese Nun, which had
so marked an effect on the development of sentimentality and
on the realism of emotional expression. Likewise to these
years we owe the admirable narratives of John Bunyan,
although the latter scarcely belong to the history of prose
fiction.
136
137
During the third and last period were published the narra-
tives of both Defoe and Swift, which fact in itself would be
sufficient to make these years memorable, were they not note-
worthy on other scores. In the first place, there was a change
in the prevailing taste, due partly to a moral reaction and
partly to various political, social, and economic causes which
brought about changes in the character of the reading
public. Sentimentalism, didacticism, a love of the picturesque
and the sensational, a partiality for themes from domestic life,
and a strong bent toward realism began to characterize fiction.
In the development of structure and style, rapid progress was
made. The periodical afforded an opportunity for the per-
fecting of such subsidiary forms as the " character," the letter,
and the dialogue. In the Sir Roger de Coverley Papers the
character-sketch culminated, for without plot further develop-
ment was impossible. Likewise Defoe bad perfected the
simple narrative of adventure of the autobiographical type,
and together with Mrs. Rowe had exploited the conduct-book.
It remained to combine the various elements, to utilize the
episodes of family life and to develop the plot. Some prog-
ress was made along these lines in the domestic histories of
Mrs. Haywood, in the rambling stories of Mrs. Aubin, and in
that little group of anonymous novels of which typical exam-
ples are Lindwmira, Love in a Madhouse, and Alexis and
Sylvia. During the forty years from 1700 to 1740, the rise
of the novel of manners was particularly rapid. We can per-
ceive direct progress toward Richardson; his device of the
letters, his favorite situation of virtue contending with vice,
his stock characters of the deluded girl and the gentlemanly
rake, his excess of detail, his sentimentality, and his morality,
not only existed, but were common.
APPENDIX A
SUMMARY OF PARTHENISSA
"The sun was already so far declined that the heat was
not offensive, when a stranger richly armed, and proportion-
ately blest with all the gifts of Nature and education, alighted
at the Temple of Hieropolis in Syria, where the Queen of Love
had settled an Oracle, as famous as the Deity to whom it had
been dedicated. The stranger . . . commanded his servant to
enquire out some retired lodging for him, which whilst he was
so doing, his master walked about the sacred place, without so
much as regarding the beauty and rareness of the structure
and with so languishing and careless a pace, that those which
considered it, easily judged 'twas chiefly the distemper of the
mind which had so strong an influence over his body."^ The
priest Callimachus immediately perceived from the elegance of
his manner that he had a guest of no mean rank, and with
much humility begged him to unburden his breast. After
many tears, sighs and apologies " for these effeminacies," the
hero began his dolorous tale. His name was Artabanes, scion
of the Median and Persian royal families, a general in the
Persian army and the ardent lover of the divine princess Par-
thenissa. Long had he concealed his passion when there
arrived at court the Ethiopian prince, Ambixerles, with
pictures of his twenty- four ladies, who challenged to mortal
combat, any knight so hardy as to maintain any woman living
or dead, to exceed in beauty his peerless princesses. Arta-
banes, as the ' servant ' of Parthenissa, immediately entered
the lists and very shortly brought the Ethiopian to the feet of
his mistress. In the fray, however, the hero had met with
several injuries which, combined with his anxiety lest his fair
mistress should be more enraged at his publishing his passion
* This is the conventional opening and is a direct imitation of the Greek.
This episode occurs in Polexandre.
138
139
than pleased at the establishment of her perfection, brought
him to such a sorry pass that had not the object of his affec-
tion, the fair Parthenissa herself, condescended to visit him,
death would surely have carried him off. No sooner was he
recovered than he was forced to enter the lists against a rival
for the princess's favor, and a formidable rival too, no less a
person than the King's favorite general, Surenna. The hero
once more proved his prowess and his magnanimity, for having
brought his opponent to the earth he graciously spared his life.
Surenna was unworthy of such treatment since, being deter-
mined that Artabanes should not enjoy the favor of the lady,
he resorted to the trick of dropping, in a spot where he knew
the guileless Artabanes would surely find it, a forged note,
wherein was indicated that he (Surenna) and the fair Par-
thenissa were on the friendliest terms. Artabanes found it,
read it, believed it, and without more ado departed straightway
for Rome. Here the narrator had occasion to mention his
friend Artavasades and forthwith told of that unhappy man's
love for the peerless Altazeera, whom the king had designed
for Pacorus. To return to the main thread ; Rome proved too
gay for the melancholy Artabanes and he determined to re-
move to the Alps where he might nurse his sorrow in soli-
tary grandeur, but, just as he was departing, a friend arrived
from Persia, who laid bare Surenna's perfidy and the match-
less constancy of the divine Parthenissa. [Here the feelings
of the narrator overcame him, and he let the recounting of his
adventures devolve upon his faithful servant Simander.]
When the generous Artabanes learned the truth, he set out
for Persia, but on the way was seized by pirates and sold as
a slave to Pompey. He soon managed to escape, aroused
his companions and came forth at the head of an army as the
historic Spartacus. He took Cyprus, where among his
prisoners were Perolla and Isadora, who took turns in telling
their woful history. Like Romeo and Juliet they were lovers
belonging to rival houses between which there existed a bitter
feud. And " although Perolla many times saved the life of
Isadora's father, and though he deserted his own parent in
the crisis of a battle for the sake of his fair mistress," her
140
father remained resolutely obstinate and designed her for
Flamminius. That despised suitor was no sooner acquainted
with the situation than he did all in his power to help the
lovers. Then came Hannibal who took them prisoners and
' himself fell in love with the charming Isadora. To court
her he gave over the toils of war to Maharbal, and at last we
know why he did not march to Rome — Isadora persuaded
him not to destroy the city of her birth. Death carried off
Hannibal and the lovers returned to Cyprus where they were
taken prisoners by Spartacus, before whom they laid the case
of their thwarted love. The noble Spartacus having heard
their tale and also that of their parents, decided in favor of
the lovers and had them married in the presence of the assem-
bled army and suddenly repentant fathers. At this point a
messenger arrived who informed Spartacus, alias Artabanes,
that Surenna was poisoning the mind of the faithful Par-
thenissa, whereupon the general set sail for Persia.
Simander had reached this point when narrator and listener
were startled by a great noise and, rushing toward the woods
where they had seen Artabanes disappear, met him returning
with a knight he had rescued from assassins. The stranger
proved to be the valiant Artavasdes, whose love affair Arta-
banes had confided to the priest. After much persuasion he
was induced to continue his story from' the time of his banish-
ment. During his absence pressure had been brought to bear
upon the fair Altazeera to force her to marry the son of
Mithridates, and upon his fortuitous death, the Prince Pacorus.
The latter was severely wounded in battle, and Artavasdes,
thinking death might ensue, determined to visit his lady. To
this end he disguised himself as a menial, entered the
king's service, and managed to be continually with the princess.
But when he discovered himself, the lady fainted in his arms,
which episode having been viewed by an enemy, would cer-
tainly have brought about the ruin of the pair, had not the
ready lie of a servant and the generosity of Pacorus (who had
miraculously recovered) come to the rescue. Shortly after-
wards, Pacorus married Altazeera and the former, not being
of a jealous disposition, treated the lover with great honor and
141
consideration and even went so far as to invite him to his
court. But the broken-hearted Artavasdes preferred to retire
to the Temple at HieropoHs.
Simander again took up the story of his master, and we are
informed that Artabanes, after landing in Persia, came upon
two men (only survivors of some scores) engaged in a death
struggle, while a beautiful woman wearing a blue veil was being
drawn wildly about the meadow by terrified horses. Without
more ado, the hero immediately assisted the weaker of the
combatants, but nevertheless it was not long before the latter
was laid helpless upon the turf. The victor called a halt,
proved himself to be Artabanes' friend, and explained
that he had been fighting with Surenna for the possession of
Parthenissa (the lady in the chariot) whom that villain had
abducted. There were explanations and apologies on the part
of Parthenissa and Surenna (who was not killed after all)
and the whole party set out for home where they arrived after
many adventures. On the return to court new trouble was in
store for the lovers, for the King himself had fallen a victim
to the charms of the peerless Parthenissa. Consequently, it
was not long before Surenna, whom the king now regarded as
a rival, was arrested on some pretext and executed in the
public place amid the loud lamentations of the assembled mul-
titude. Parthenissa, regarding her situation as hopeless, drank
poison, and as in the instance of Cleopatra, her women shared
her fate. As Simander was concluding his account, Cal-
limachus received an answer from the oracle:
From Parthenissa's ashes I will raise
A Phcenix, in whose Flames thou shalt be blest;
Wait then about this Temple a few days.
And all thy Torments shall be crowned with Rest.
Despair not Artavasdes, since the time.
Predestined for thy suiferings is but brief;
Fortune unto thy virtues shall resign ;
And perfect joy, succeed to equal Grief.
Go both and sacrifice to that fair Boy,
Who did inspire my highest Grief and Joy.'
' Parthenissa, p. 523-
142
While pondering upon the significance of this cryptic reply,
the attention of the whole party was distracted by the landing
of a youth and two beautiful ladies, one of whom was the
exact image of Altazeera and the other of Parthenissa. They
soon passed out of sight and the lovers marvelled much, but
the generous Artavasdes knew his lady was a queen in Media
and the noble Artabanes was equally sure his lady was dead,
and both were certain that neither lady could be guilty of in-
constancy. While they sat there waiting for the return of the
strangers, Callimachus related his adventures. His real name
was Ariobazanes, King of Pontus. He had madly loved
Statira, daughter of Mithridates, and in return for the in-
numerable victories he had won for her father, had been
promised her hand, but at the last moment Mithridates dis-
covered that the King of Cyprus to whom he had formerly
betrothed his daughter was not, as rumor reported, dead, so he
broke his promise to Ariobazanes and constrained poor Statira
to marry the King of Cyprus. The heart-broken lover had
retired to Hieropolis and become a priest to Venus.
Here the story ends, or rather breaks off, leaving the reader
to unriddle the oracle and guess who the strangers were.
BIBLIOGRAPHY
WORKS OF GENERAL REFERENCE
This does not pretend to be a complete list of all the works
bearing upon the subject but only of those found most helpful
in the preparation of this study.
Charlanne, Louis, V Influence Frangaise en Angleterre au XVIP
si^cle. Paris, 1906.
Cross, W. B., Development of the English Novel. New York,
1899.
Dictionary of National Biography. Ed. Leslie Stephen and Sid-
ney Lee. London, 1889-94.
Dunlop, J. C, History of Fiction. New ed., revised with
notes, appendices, and index by Henry Wilson. 2 v.
New York, 1906.
Ehrenthal, H. N., English Novelists. Rostock, 1874.
Elton, O., Augustan Ages. (Periods of European Literature,
V. viii.) New York, 1906.
Forsyth Wm., Novels and Novelists of the Eighteenth Century.
London, 1871.
Fiirst, Rudolf, Die Vorldufer der Modernen Novelle im achtzehn-
ten jahrhundert. Halle, 1897.
Grierson, H. J. C., The First Half of the Seventeenth Century.
Edinburgh, 1906.
Hallam, H., Introduction to the Literature of Europe in the
fifteenth, sixteenth, and seventeenth centuries. 3 v. Lon-
don, 1873.
Hazlitt, W. C., Lectures on the English Comic Writers. London,
1819.
Hettner, H., Geschichte der Englischen Litteratur (1660-1770).
5th ed. Braunschweig, 1894.
Hume, M., Spanish Influence in English Literature. London,
1895-
JuUeville, Louis Petit de, Histoire de la Langue et de la
Litterature frangaise des origines d igoo. 8 v. Paris,
1896-99.
143
144
Jusserand, J. J., English Novel in the Time of Shakespeare.
London, 1890.
Kelly-Fitzmaurice, J., History of Spanish Literature. New
York, 1898.
Koerting, P. H., Geschichte des franzosischen Romans im XVII
jahrhundert. Oppeln, 1891.
Lanier, S., The English Novel. New York, 1900.
Le Breton, A., Le Roman au dix-septieme sihcle. Paris, 1890.
Masson, D. British Novelists and their Styles. Revised
ed., Boston, 1859.
Morillat, P., Le Roman en France. Paris, 1895.
Perry, B., A Study of Prose Fiction. New ed. Boston, 1903.
Raleigh, W., The English Novel. Revised ed. New York,
1904.
Reynier, G., Le Roman Sentimental avant I'AstrSe. Paris, 1908.
Saintsbury, G., Essays on French Novelists. 2d ed. London,
1891.
Scott, M. A. E., "Elizabethan Translations from the Italian"
in Publ. Mod. Lang. Assn. for 1895. x. 249-295.
Stoddard, F. H., The Evolution of the English Novel. New
York, 1900.
Traill, H. D., Social England. New York, 1895-97.
Tuckerman, B., History of English Prose Fiction. New York,
1900.
Underhill, J. G., Spanish Literature in the England of the Tudors.
New York, 1899.
Upham, A. H., The French Influence in English Literature from
the Accession of Elizabeth to the Restoration. New York,
1909.
Utter, R. P., Studies in the Origin of the English Novel. With
special reference to the influence of the periodical essay.
Unpublished Harvard Dissertation. 1906.
Waldberg, M. F. von, Der empfindsame Roman in Frankreich.
vol. i. Strasburg and Berlin, 1906.
Warren, F. M., History of the Novel previous to the seventeenth
century. New York, 1895.
SPECIAL REFERENCE
In addition to the general works cited, the following have
been found helpful in dealing with the special topics.
145
Chapter I. Romances and Anti-Romances
Section i. Chivalric Romances
Ashton, J., Romances of Chivalry. New York, 1887.
Southey, R., Amadis of Gaul translated from the Spanish version
of Garcia Ordonez de Montalvo. New edition, 3 vols.
London, 1872.
Section 2. Classical Romances
Abbott, F. F., "Petronius: A Study in Ancient Realism,"
in The Sewanee Review, 1899, vii, 435-443.
Collegnor, Albert, Petrone en France. Paris, 1892.
Goodwin, Ch. J., "Romance Writing among the Greeks," in
The Sewanee Review, v. 290 ff., 1897.
The Greek Romances of Heliodorus, Longus, and Achilles Tatius,
ed. Rowland Smith. (Bohn's Library.) London, 1901.
Lucian, Works tr. by H. W. Fowler, Oxford, 1905.
Oeftering, M., "Heliodor und seine Bedeutung fiir die Lit-
teratur" in Litterarhistorische Forschungen, heft 18,
Berlin, 1901.
Petrone, Apulee, Aulu-Gelle; Oeuvres Completes, avec la tra-
duction enfrangaise. Pub. sous la direction de M. Nisard.
Paris, 1856.
Rhode, E., Der Griechische Roman und seine Vorlaufer. Leip-
zig, 1876.
Trimalchio's Dinner from the Satyricon of Petronius. Ed. H.
T. Peck. New York, 1898.
Section 3. Arcadian Romances
Brunhuber, K., Sir Philip Sidney's Arcadia und ihre Nach-
Idufer. Niirnburg, 1903.
Crossley, J., Sir Philip Sidney and the Arcadia. London,
1853-
Davis, Sarah, M., The Life and Times of Sir Philip Sidney.
New York, 1859.
Greg, W. W., Pastoral Poetry and Pastoral Drama. London
1905-
Marsan, Jules, La Pastorale Dramatique. London, 1905.
Rennert, H. A., "The Spanish Pastoral Romances" in Pub.
Mod. Lang. Assn., 1892, v. viii.
11
146
Sidney, Sir P., The Countess of Pembroke's Arcadia, ed. 0.
Sommer. New York, London, 1891.
Section 4. Euphuistic Romances
Greene, Robert, Works, ed. Grosart. (Huth Libr.) 6 v.
London, 1883-85.
Lodge, Thomas, Works. Hunterian Club Edition. Glasgow,
1883.
Lyly, John, Works. Ed. Bond. Oxford, 1902.
Wilson, J. D., John Lyly. Cambridge, 1905.
Wolff, S. L., "Robert Greene and the Italian Renaissance,"
in Englische Studien, 1906.
''Source of Euphues; the Anatomy of Wyt" in Mod. PMloL,
vii, 577-85. April, 1910.
Sections 5 and 8. Heroic and Miscellaneous Romances
Ballard, George, Memoirs of Several Ladies of Great Britain.
Oxford, 1752.
Cousin, Victor, La Society frangaise au XV IP sihcle. 2 v.
Paris, 1886.
Crane, Thos. F., La SociSti frangaise au XVIP si^cle. New
York, 1900.
Les Heros de Roman, Introduction, New York, 1902.
Grosse, K., John Crowne's Komodien und burleske Dichtung.
Leipzig, 1902.
Huet, P. D., Lettre de M. Huet d, M. de Segrais de Vorigine des
Romans, in Huetana (Ana, v. viii). Amsterdam and
Paris, 1670.
Koerting, P. H., Geschichte des franzosischen Romans im XVII
Jahrhundert. Oppeln, 1891.
Le Breton, A., Le Roman au Dix-septihme Sihcle. Paris, 1890.
Morrillat, P., Le Roman en France. Paris, 1895.
Osborne, Dorothy, Letters to Sir William Temple. Ed. Parry.
London, new ed., 1888.
Philips, Mrs. Katherine, Letters of Orinda to Poliarchus.
2d ed. London, 1729.
Reynier, G., Le Roman Sentimental avant VAstrie. Paris,
1908.
147
Toldo, P., "Le Courtisan dans la litt^rature frangaise et ses
rapports avec I'oeuvre de Castiglione" in Archivfiir das
Studium der neuren Sprachen nnd Litteraturen. March,
1900, iv, n. s., iv, 75 sq.
Waldberg, M. F. von, Der empfindsame Roman im Frankreich.
Strasburg and Berlin, 1906.
Wells, B. W., "La Calprenede and Scudery" in The Sewanee
Review, 1898, vi, 43953.
Section 6. The Political and Allegorical Romances
Bergerac, Savinien Cyrano de, Oeuvres comiques, galantes et
litteraires. Nouv. ed. . . . avec des notes par P. L. Jacob
Paris, 1858.
A Voyage to the Moon. Ed. C. H. Page. New York, 1899.
Defoe, Daniel, The Consolidator ; or. Memoirs of sundry transac-
tions from the world in the moon; tr. from the lunar lan-
guage. London, 1705.
Garnier, C. G. T., Voyages Imaginaires. Paris, 1787.
Harrington, James, Commonwealth of Oceana; with an intro-
duction by Henry Morley. London, 1887.
Lichtenberger, A., Le Socialisme utopigue. Paris, 1898.
More, Thos., Utopia in Ideal Commonwealths. Ed. Andrews.
(Universal Classics Library.) New York, 1901.
Neilson, W. A., "Nova Solyma, a romance attributed to John
Milton" in Mod. Philol. i, 525, April, 1904.
Nova Solyma. The Ideal City, or Jerusalem Regained. Ed.
W. Begley. New York, 1902. 2 vols.
Quevedo y Villegas, Francisco Gomez, Comical Works. Tr.
from the Spanish by John Stevens. London, 1708.
Schmidt, F., John Barclay's Argenis. Eine litterahistorische
Untersuchung. Berlin and Leipzig, 1904.
Swift, J., Prose Works. Introduction by W. E. H. Lecky.
London, 1897-1908.
Von Mohl, P., Die Geschichte und Litteratur der Staatswissen-
schaften. Tubingen, 1855-58.
Section 7. Anti-Romances
Cervantes, Miguel, Complete Works. Ed. J. Fitzmaurice-Kelly.
Glasgow, 1901-03.
148
Chandler, F. W., The Literature of Roguery. 2 vols. New
York, 1907.
Romances of Roguery. Pt. I. The Picaresque Novel in
Spain. New York, 1899.
Claretie, L60, Le Roman en France au debut du 18° sihcle;
Lesage, romancier, d'aprhs de nouveax documents. Paris,
1890.
Fureti^re, A., Le Roman Bourgeois . . . aves notice et notes
par P. Jannet. 2 v. 1868.
Kotz, F. O., "Nashe's 'Unfortunate traveller' und Head's
'English rogue,' die beiden Hauptvertreter des englischen
Schelmenromans " in Anglia, xxii, 81-140, 1899.
Lesage, A. R., Oeuvres Choisies. Amsterdam, 1783.
Nashe, Thos., Complete Works. Ed. Grosart. London, 1883-
85-
Works. Ed. Ronald McKerrow. London, 1904-08.
Quevedo y Villegas, F. G., The Spanish Sharper, ed. H. E.
Watts. London, 1892.
Rabelais, Frangois, Works tr. by Sir Thomas Urquhart.
(Maitland Club Reprint.) 1838.
Rabelais, Ed. C. H. Page. New York, 1905.
Roy, E., La Vie et les Oeuvres de Charles Sorel. Paris, 1891.
Scarron, Paul, Oeuvres. Nouv. ed. Paris, 1752.
Comical romance and other tales done into English by Tom
Brown, John Savage and others. With an introduction
by J- J- Jusserand. London, 1892.
Wells, B. W., "Sorel's Counterblast to the Astr^e" in The
Sewanee Review, v. 279. 1900.
Chapter II
Canby, H. S., The Short Story in English. New York, 1909.
Gosse, E. "A Nun's Letters" in Fortn. Review, xlix, o. s.,
p. 5o6ff.
Letters from a Portuguese Nun to an Officer in the French Army.
Translated by W. R. Bowles in 1S17 and reprinted by
Brentano, New York, 1904.
The Letters of a Portuguese Nun. Translated by Edgar
Prestage. Repub. by Thos. Mosher. Portland, Maine,
1904.
149
Mrs. Behn
Kavanagh, J., "The Life and Memoirs of Aphra Behn" in
English Women of Letters. London, 1863.
Lichtenberger, A., "Aphra Behn" in La Socialisme Utopigue,
pp. 1-30. Paris, 1898.
Plays, Histories and Novels of the Ingenious Mrs. Behn.
Complete in six volumes. London, 1871.
Siegel, P., "Aphra Behn's Gedichte und Prosawerke," in
Anglia, xxv, 86-128, 329-385.
Chapter III
The Contributory Forms
Baldwin, C. S., "The Relation of the Seventeeth Century
Character to the Periodical Essay" in Pub. Mod. Lang.
Ass. of Am., xviii, 1903, and xix, 1904.
"Character Books of the Seventeenth Century in Relation
to the Development of the Novel" in Western Reserve
Bulletin, Oct., 1900.
Burr, A. R., The Autobiography. A Critical and Compara-
tive Study. Boston and New York, 1909.
Fox-Bourne, H. R., English Newspapers. 2 v., London,
1887.
Greenough, C. N., Studies in the Development of Character
Writing. Harvard Dissertation, 1904. Unpublished.
Morley, Henry, Character Writings of the Seventeenth Cen-
tury. Carisbrooke Library. London, 1891.
The Spectator, ed. H. Morley. London, 1891.
Mrs. Jane Barker
Mrs. Jane Barker: Ein Beitrag zur Englischen Literatur-
geschichte. Munich, 1906.
The Oriental Tale
The Oriental Tale in England in the Eighteenth Century.
By Martha Pike Conant. New York, 1908.
Richardson
Hazlitt, W. C, "Samuel Richardson" in Lectures on the
English Comic Writers. London, 1819.
Thompson, C. L., Samuel Richardson, A Biographical and
Critical Study. London, 1900.
Thome, W. B., "Samuel Richardson — Famous Printer" in
The Library, n. s., HI, 1901.
150
Chapter IV
The Popular Fiction
Ashton, J., Chapbooks of the Eighteenth Century. London, 1882.
Chandler, F. W., The Literature of Roguery. New York, 1907.
Deloney, Thos., The Gentle Craft. Ed., A. F. Lange, Berlin,
1903.
The History of John Winchomh. Ed. J. O. Halliwell, 1859.
Halliwell-Phillipps, J. O., A Catalogue of Chapbooks, Garlands,
and Popular Histories. London, 1849.
Descriptive Notices of Popular English Histories. Percy
Society Pub., 1848.
Barnabae Itinerarium; or, Barnabee's Journal. Ed J. 0.
Halliwell, 1876.
Paris and Vienne; the story of the Noble Ryght Valyaunt
Worthy Knight Parys and the Fayr Vyenne. Roxburghe
Club Libr., 1868.
The Tinker of Turvey or the Canterbury Pilgrims. Ed. J. O.
Halliwell, 1859.
Westward for Smelts, or the Waterman's fare of mad merry
Western wenches whose tongues albeit, like Bell-clappers
they never leave ringing yet their tales are sweet and will
much content you. Written by Kinde Kit of Kingstone.
Ed. for the Percy Soc, 1848, v. xxii.
Thorns, Wm. J., Early English Popular Histories. Revised
ed., London, 1907-08.
John Bunyan
The Life and Death of Mr. Badman and the Holy War. Ed.
J. Brown. London, 1905.
Works. Ed. George Offor. 3 v. London, 1853.
Browne, J., John Bunyan. His Life and Times. 3d ed.
London, 1887.
Dowden Edward, Puritan and Anglican. Pp. 231-278.
London, 1901.
Grier, J. B., Studies in the English of John Bunyan. 1872.
Hazlitt, W. C, "Bunyan and his Prototypes" in Thoughts
in Solitude, ch. xv, London, 1884.
Nevins, J. B., "On the influence of political and rehgious
allegory on European thought for 600 years and a com-
151
parison between a Pilgrim's Progress by a French monk
in the fourteenth century and Bunyan's P. P. in the seven-
teenth." No. 53 in Proceedings of the Lit. and Phil.
Soc. of Liverpool, 1898-99.
Wharey, J. Blanton, A Study of the Sources of Bunyan's
Allegories. Univ. of Penn. Publ., 1904.
Defoe
Novels and Miscellaneous Works. . . . including all contained
in the ed. attributed to . . . Sir Walter Scott, with additions.
20. V. Oxford, 1840-41.
Romances and Narratives. Ed. G. A. Aitken. London, 1895.
Aitken, G. A., "The Apparition of Mrs. Veal" in The Nine-
teenth Century, xxxvii, 95, 1895.
Lee, W., Daniel Defoe; his Life and Newly Discovered
Writings, 1716-29. London, 1869. 3 v.
Stephen, Leslie, "Defoe's Novels" in Hours in a Library,
V. i, pp. 1-63. New ed.. New York, 1907.
Trent, W. P., "Bibliographical Notes on Defoe" — in the
Nation, June 6, July 11, Aug. 15 and Aug. 29, 1907, i. e.,
vol. 84, p. 515, and vol. 85, pp. 29, 149, 180.
BIBLIOGRAPHICAL REFERENCE WORKS
Arber, Edward, The Term Catalogues, 1668-1709 A. D., with a
number for Easter term, 1711, etc. London, 1903-06.
Transcript of the Registers of the Stationers' Company . . .
of London. London, 1 875-1 894.
Betz, Louis P., La Literature Comparee, essai bibliographique.
Ed. F. Baldensperger. Strasburg, 1904.
Bibliographical Miscellany. Ed. Adam Clarke. London, 1806.
Bibliographic des ouvrages relatifs d I'amour, aux femmes, au
marriage et des livres facetieux. Ed. Jules Gay. 4' 6d.
. . . augmentte . . . par J. Lemonnyer. Paris, 1894-1900.
Catalogue of printed books in the British Museum Library.
80 vols. 1882-99. Supplement, 9 v., 1900-04.
Catalogue of the printed books in the Library of the Faculty of
Advocates. 6 v. and sup. i v. Edinb., 1867-1879.
Catalogue of the printed books in the Bodleian Library, Oxford.
Unpublished.
Bliss, Ph., Catalogue of the first portion of the extensive, interesting
152
and valuable library formed by the late Rev. P. Bliss. Lon-
don, 1858.
Collier, J. P., Bibliographical and Critical Account of the rarest
books in the English language. 2 v. London, 1865.
(Collin).
Catalogue of Lord Ellesmere's Bridgewater Library. London,
1837-
Illustrations of Old English Literature. London, 1886.
Cushing, Wm., Initials and Pseudonyms. A Dictionary of
Literary Disguises. New York, 1885.
Ellis and Elvey, later Ellis and White, Catalogues [booksellers'
lists].
Fry, J., Bibliographical Memoranda in Illustration of Early
English Literature. Bristol, 1816.
Halkett, Sam., and Laing, John, A Dictionary of the Anony-
mous and Pseudonymous Literature of Great Britain.
Edinburgh, 1882.
Halliwell-Phillipps, J. O., Books of Characters, illustrating
the habits and manners of Englishmen from the Reign of
James I to the Restoration.
Catalogue of Chap-books, Garlands and Popular Histories.
London, 1849.
Descriptive Notices of popular English histories. (Percy
Society, v. 23.) 1848.
A Handlist of the Early English Literature in the Malone
Collection from the Catalogue in the Bodleian. London,
i860.
Hazlitt, Wm. C, Collections and Notes, ist, 2d and 3d series
and supplements. London, i860, 1892.
Huth, H., Catalogue of the Printed Books, Mss., Autograph
Letters and Engravings collected by H.Huth. 5 vols. Lon-
don, 1880.
Langbaine, G., Lives and Characteristics of the English dramatick
Poets of the seventeenth century. . . continued by Ch.
Gildon. London, 1699.
Lawler, J., Book-Auctions of the Seventeenth Century. London,
1898.
Lowndes, Wm., Bibliographer's Manual of English Literature.
New ed. H. G. Bohn. 6 vols. London, 1864.
153
Quaritch, J., Catalogue of Romances of chivalry . . . the
literature of fiction and imagination from Homer to the
lyth Century. 1885.
Walpole, H. , Catalogue of the Royal and Noble Authors of England
with lists of their works. 2 v. New ed. Edinburgh, 1792.
CHRONOLOGICAL LIST OF THE PROSE FICTION
FIRST PRINTED IN ENGLAND BETWEEN
1600 AND 1740
In the following bibliography, which is very far from com-
plete, I have deliberately omitted all contributory forms such
as character-sketches, dialogues, periodicals, conduct-books,
chap-books, etc., unless they seemed unusually rare or were
mentioned in the text, but have given some books of travel.
Directly after the title, in parenthesis, is given the source
of my information, the library shelf-number, — Col (Columbia),
Harvard, Advocates, Bodleian, or, if undesignated, the British
Museum — the S. R. {Stationer's Register), the T. C. {Term
Catalogues), or the reference work. In the last instance, I
have simply used the author's name or editor's name as that
was most easily identified in the alphabetical list of biblio-
graphical sources. The only exception is in the case of Dr.
Chandler : his Literature of Roguery I have indicated by Lit.
of R., his Romances of Roguery by R. of R.
1600
1. The Blackdog of Newgate. By Luke Hutton. Possibly
published earlier. {Lit. of R., i. 112.)
2. The Her deal Adventures of the Knight of the Sea. For
Wm. Leake. (Collier, ii. 217.)
3. The Strange Fortunes of Two Excellent Princes [Fantimo
and Penillo] in their lives and loves to their equall
Ladies in all the titles of Honour. By N. Breton.
(Bodleian).,
1601
4. The Strangest Adventure that ever happened . . . con-
taining a discourse . . . of the King of Portugal, Dom
Sebastian. Part I.
Translated by Anthony Munday from the Spanish by
Jose Teixeira through the French of an anonymous
writer. Part II, 1602. Both parts were relicensed
September 27, 1602. (Underbill, p. 47.)
154
155
l602
5. Greenes Ghost Haunting Conie-Catchers . . . with the
conceits of Doctor Makeshift. By Samuel Rowlands.
(C. 40. d. 40.)
Another edition, 1664.
1603
6. A Mad World my Masters. By Nicholas Breton.
A punning dialogue.
7. A True and Admirable Historie of a Mayden in Confolens
in the Province of Poictiers; that for the space of three
yeares and more hath lived and yet doth without receiv-
ing either meate or drinke. [Translated by Anthony
Munday.] (Gay.)
8. A True and Strange Discourse of the Travails of two
English Pilgrims. By Henry Timberlake. (G.6722.)
This more or less authentic account of a pilgrimage to
Jerusalem was reprinted in slightly modified versions
in 1608, 1609, 161 1, 1616, 1620 and 1683. The last
edition contained material added by the editor,
R. Burton, i. e., Nathaniel Crouch, and was adver-
tised under the title of Two English Pilgrims.
1604
9. Grimellos Fortunes, with his Entertainment in his Travels.
By Nicholas Breton. (i2330.b.24.)
This is a somewhat picaresque miscellany in dialogue
form.
1605
ID. The First and Second partes of the Famous History of
Evoradmus, Prince of Denmarke with his adventures
and fortunes in love.
Licensed February 12, for Banckworth, but I have
found no further record of the book.
1 1 . The Life and Death of Gamaliel Ratsey, a famous Theefe
of England. (Bodleian and Lit. of R. i. 143.)
Reprinted by J. P. Collier in III. of Old Eng. Lit.
12. The Most Famous and Delightful History of Urano, other-
wise called the Greene Knight and the most beautiful
156
Princesse Beroshia, Daughter to Lucius, King of
Brittaine.
Licensed for Francis Burton, September 9, but I have
found no further mention.
13. The Practises of Elizabeth Caldwell. {Lit. of R., p. 148).
A cheap pamphlet relating her crimes.
14. The School of Slovenrie. Dekker's translation of Dede-
kind's Grobianus. Revised in 1609 as the Guls Horne-
booke. (C.27.b.7.)
15. A True Relation of God's Wonderful Mercies in preserving
one alive which hanged Jive days who was falsely accused,
i. e., John Johnson.
By John Johnson of Antwerp.
A variation appeared in Edinburgh in 1706.
16. Vincentio and Margaret.
Licensed in November for Valentine Syms but not
mentioned elsewhere.
1606
17. The Countess of Bedford's Arcadia, begyninge where the
Countesse of Pembroke's Endes.
Licensed January 6, for Edward Aide but so far as I
know not mentioned elsewhere.
18. Eliosto Libidinoso . . . Wherein their imminent danger
is declared, who guiding the course of their life by the
compasse of Affection, either dashe their ship against
most dangerous shelves or else attaine their haven with
extreame prejudice. By John Hind.
This seems to be the same as Greene's Card of Fancie,
reprinted in 1608, Wherein the folly of those Carpet
Knights is deciphered which guiding their courses by the
compass of Cupid, either dash their ship against more
dangerous rocks or else attaine the haven with pain and
peril &.
It is the Debate between Follie and Love translated out
of the French of Louise Labe.
1607
19. The Pastoralls of Julietta divided into five parts. Trans-
lated from the French of OUenix du Mont-Sacr6
[1592-98] by Gervase Markham.
157
Licensed for Thos. Creede, Nov. ii, 1609.
Another rendering by Robert Tofte under the title of
Honour's Academy or the Famous Pastoral of the Fair
Shepherdess Julietta appeared in 1610.
20. The Pleasant and Delightful History of Tom of Lincoln,
The most valiant and renowned Red-Rose Knight;
surnamed for his many wonderful exploits, the Glory
and Pride of England. Containing an account of
his princely birth, strange education, noble and valorous
exploits at home and abroad; his amours with the Queen
of Fairy; his marriage with the Emperour of Ethiopia's
Daughter etc.
Reprinted in 1625, 1631, 1635, 1655 "the ninth," 1682
and so on.
1608
21. The Belman of London. By Thos. Dekker. (C.44.C.20.)
An enlarged version appeared in 1609 as Lanthorne
and Candlelight and was reprinted in 161 2 with
per se 0, and under the title of Villanies Discovered,
in 1616, and with additions and variations as EwgZw/t
Villanies in 1638, 1640 etc., reaching the ninth edi-
tion in 1648. {Lit. of R., i, 106-110.)
22. St. George's three sons, the lively sparks of nobility. By
Richard Johnson. (Quaritch.)
Part III. appeared in 161 6 and a metrical version in
1622.
1609
23. The Discovery of a New World; or a Description of the
South Indyes hitherto unknown. By an English
Mercurye. (Begley.)
This is a translation of Mundus Idem et Alter. Sive
terra Australis itineribus Peregrini Academici Lus-
trata. Auctore Mercurio Britanico, i. e., Joseph Hall,
of which Latin editions were printed in 1607 at
Hanover and Frankfurt. The Latin edition was
entered on the S.R. for John Porter, June 2, 1604,
and on August 4, 1608, it was assigned to Leonard
Greene; but the translation of 1609-10 seems to be
the earliest edition printed in England. It was re-
158
printed and bound with the New Atlantis in 1643,
and again in 1680. (Begley.)
24. The Famous Whore, or Noble Courtizan, containing the
lamentable Complaint of Paulina, the famous Roman
Courtizan, sometime mistress unto the great Cardinal
Hippolyte of Este. Translated from the Italian by
C. Markhune. [G. Markham?] (Gay.)
25. The Man in the Moon telling Strange Fortunes to the
English Fortune Teller. By M. W. (232. f. 11.)
A book of character-sketches satirizing vices.
1610
26. Euphormionsis Lusinini Satyricon. By John Barclay.
The eariiest extant edition of Pt. I is that printed in Paris
in 1605, but in all probability a version had appeared
in London in 1603. Pt. II was added in 1607; parts
III and IV were included in the editions printed at
London in 1610 and at Oxford in 1614. A continu-
ation by Morisot was printed in 1625.
It was translated in 1631 as the Mirror for Mindes by
Thos. May who took his title from Pt. II, Icon
Animorum.
27. The Madde Pranckes of Merry Mall of Banckside.
Licensed August 7 for Henry Gosson.
A cheap pamphlet relating the popular and well-known
misdeameanors of Longa Margarita which had already
been reported in ballads and broadsides. {Lit. of
R., i. 144.)
1612
28. The Heroik Life and Deplorable Death of the most Christian
King, Henry the fourth. Translated from P. Mathieu
by Ed. Grimston (Upham).
29. The History of the valorous and witty Knight-errant Don
Quixote of the Mancha. By M. de Cervantes Saavedra
translated out of the Spanish. By T. Shelton.
Part II appeared in 161 5, and is generally attributed to
Shelton but Quaritch doubts if he were the translator.
New editions appeared in 1652 and 1675. The trans-
lation by John Phillips appeared in 1687; an abridged
159
version in 12s in 1689, 1695, and 1721. Stevens's
translation was printed in 1705 as was also his trans-
lation of Le Sage's continuation.
30. The Most Famous . . . History of that worthie Knight
Mervine. First composed in rhyme and after trans-
lated into French prose whence it is now reduced. By
T. M., Gent. (1074. b. 35.)
A late chivalric romance.
1613
31. The Admirable History of the Possession and Conversion
of a penitent seduced by a magician. Translated
by W. B. (8630.d.39.)
32. Looke on Me London I am an Honest Englishman. By
R. J., i. e., R. Johnson. (C.40.)
A satirical attack on the vices and abuses of London.
33. The Plain Man's Pilgrimage or Journey towards Heaven.
By W. W[ebster].
This rare little allegory is cited by Wharey.
34. The Second and Last parte of the first booke of the Englishe
Arcadia. By Gervase Markham. (C.39.h.8.)
Printed in all later editions of the Arcadia.
1615
35. The Famous History of the Seaven Champions of Christen-
dom. In Two Parts. By R. Johnson. (i26i4.d.)
This clumsy compilation of old chivalric material has
been described as "all the lies of Christendom in one
lie." Nevertheless it proved very popular and was
reprinted in 1620?, 1630?, 1670?, 1696, 1719, 1722
and probably oftener.
36. The Honourable Prentice, or this Taylor is a Man. {Lit.
of R.i. 73.)
i. e. Sir John Hawkwood who figures in Deloney's
Thomas of Reading.
Other editions 1616, 1668 and 1687, the last two under
the title The Honour of the Merchant-Taylors, by Wm.
Winstanley.
1616
37. The Table of Cebes, the Theban. Translated by John Healy.
(Wharey.)
160
i6i7
38. Compters Commonwealth. By William Fennor. (1077,
i.6.)
Reissiied in 1619 as The Miseries of a Jaile, in 1629,
as A True Description of the Lawes, Justice, and Equity
of a Compter, and in 1638, as the Discovery of a London
Monster. (Lit. of R., i. 140.)
1618
39. The Roman Histories of L. J. Florus. Translated by
E. M. Bolton. (803, b.io.)
Reprinted in 1636 and translated by J. Davies in
1669. (1306.0)
40. The Spanish Mandeville of Myracles, or the Garden of
Curious Flowers . . . first written in Spanish by
Anthonio de Torquemeda.
An entertaining volume of wonderful and marvellous
stories, some of which are drawn from the lands of
the New World. (Quaritch, iv. 709.)
41. True and Wonderful History of Perkin Warbeck by
Thomas Gainford. {Lit. of R., i. 154.)
1619
42. The Pleasant Historie of John of Winchomb. By Thomas
Deloney.
This is the earliest edition extant. It was reprinted
in 1626, 1630, 1633, 1637 and later.
43. The Travels of Persiles and Sigismunda. A Northern
History, wherein amongst the variable Fortunes of the
Prince of Thule, and the Princess of Frisland, are inter-
laced many Witty Discourses, Morall, Politicall, and
Delightful. The first copie being written in Spanish;
translated afterward into French; and now, last into
English. (io74.h.28.)
Reprinted in 1639.
1620
44. The Decameron, containing an Hundred pleasant Novels
Wittily discoursed betweene seaven Honourable Ladies
and Three Noble Gentlemen. Translated into English
161
from the Italian of Giovanni Boccaccio. '2 v. folio.
(86.k.2.)
It was reprinted in 1625 under the title, The Model of
Wit, Eloquence, and Conversation framed in ten days, of
an hundred curious pieces by seaven ladies and three
gentlemen; in 1657, as Boccaccio's Tales or the Quin-
tessence of Wit; and under slightly varying titles in
1702, 1722, and 1741.
45. The Famous History of Tom Thumb. By Richard Johnson.
A prose version of the old songs. {Lit. of R., i. 65.)
46. The History of Astrea : the first part in twelve books,
newly translated out of the French.
Fry, p. 365, says that only a portion of the original
was translated, books 10, 11 and 12 being compressed
into one.
There was another translation in 1657.
On October 17, 161 1, L'Astree de Messire Honore Durfee
was licensed for Lowndes "to be printed in English
when it is further authorized and allowed," but
it does not seem to have been published.
47. The History of Friar Rush.
A prose refacimento of old songs and legends. (Lit. of
R., i. 56.)
48. The Way to the Celestial Paradise. By Robert Whittell.
(4403.g.)
A religious tract with little or no narrative interest.
49. Westward for Smelts. By Kit of Kingston.
A collection of short tales which had long been current.
Stevens cites an edition of 1603, but the earliest extant
is the one of 1620 mentioned by Collier, and edited
in 1848, by Halliwell-Phillipps for the Percy Society.
162 1
50. The Countess of Montgomery's Urania. By Lady Mary
Wroth. (Sommer.)
51 . The Reformed Spaniard. By De Nicholas and John Sach-
arles. Translated from the Latin. (Upham.)
A French version was entered in 1622. (Upham.)
52. The Triumphs of God's Revenge against the crying and
12
162
execrable Sin of {Willful and Premeditated) Murder.
By John Reynolds. (12403.aaa.29.)
The whole in six parts, comprising the thirty tragical
stories, was issued in 1635 and reprinted in 1639,
1640, 1657, 1662 and, with the addition of God's
Revenge against Adultery, in 1670, 1679, 1708 and
1770.
1622
53. The Pilgrim of Casteel or the Fortunes of Lamphilus and
Nisa.
To be licensed for John Norton "if more authority be
granted," but apparently it was not printed.
54. Portraicture of the Nine Worthies of the World, i. e., Maho-
met, Soliman, Tamberlaine, Charles V., Scanderbeg,
Henry IV. of France, Henry V, the Black Prince,
and Sir Philip Sidney.
Licensed for Holland, March 30.
55. The Pursuit of the Historie of Lazarillo de Tormes. By
Jean de Luna.
Reprinted independently in 163 1 and 1655, and with the
first part in 1624, 1639, 1653 and in Blackston's ver-
sion in 1669-70.
56. The Rogue: or, the Life of Gusman de Alfarache.
Translated from the Spanish of Aleman [Madrid
i599~i6o5] by James Mabbe. (Bodleian.)
Reprinted in 1633 with Mabbe's version of the Tragi-
comedy of Calisto and Melibea. It was epitomized
by "A. S., Gent." in 1655, and reissued in 1700; a
translation of the French version appeared in 1708.
1623
57. The Life and Death of Griffin Flood. {Lit. of R., i. 146.)
1625
58. Barclay his Argenis: or the Loves of Poliarchus and Ar-
genis. By John Barclay [Paris 1621]. Translated
by Kingesmill Long.
It was entered on the registers for the "Partenors in
the Latten stocke" as early as June 29, 1622, and
163
a translation by B. Jonson was licensed for Blount,
October 2, 1623, but Long's version seems to be the
first edition printed in England. In 1625, Seile
reprinted Long's translation with the verses by May.
In 1626-7, Jan. 18, Islip petitioned for "further
authorization" but probably his request was not
granted, for we next hear of the Argenis as being
translated by Robert de Guys and printed by Meig-
hen. In 1635, Seile issued a "discourse or key,"
and printed it with Long's version the next
year. In 1639, he got out an epitome. In 1669
Bugnot's continuation appeared. The Argenis was
advertised in the T. C. for Hillary Term 1674, and
in the next century, 1734, a new translation was made
by Mr. John Jacob, and printed in Dublin. For
further information about this last translation see
an article by Ed. Bensly in Mod. Lang. Review,
April, 1909, iv, p. 392.
1626
59. Almanzor, the learned and victorious King that Conquered
Spayne.
Licensed November 4, Robert Asley for Stansbye.
60. The Isle of Man, or Legal Proceedings in Manshire. By
Richard Bernard. (lOiS.bb.g.)
Other editions in 1640, 1648, 1676, the fifteenth; 1683,
the sixteenth.
1627
61. The New Atlantis. A worke unfinished, written by the
Rt. Hon. Francis [Bacon] Lord Verulam, Viscount St.
Albans. With Silva Sylvarum (Quaritch).
Reprinted eleven times by 1676; in 1660, with a contin-
uation by R. H., Esq.; in 1670, as "the ninth edition,
with the author's Hfe newly added"; in 1676, with a
continuation by Joseph Glanvill. In 1636 it was
translated into French.
62. A Sixth Booke to the Countesse of Pembroke' s Arcadia. . . .
Written by R[ichard] B[eling]. (i2403.g.i3.)
63. The Famous Historie of Fryer Bacon &. (1077, e.58.)
164
A mss. note says that this is the oldest extant edition
of this popular old tale.
Reprinted in 1630?, 1661, 1666, 1715?. I750?, 1766, etc.
1628
64. The True History of the Tragicke Loves of Hippolito and
Isabella, Neapolitans. Englished. Preceded by a
poem addressed to the 'Whim' signed G. C.
(I26i3.a.)
Second edition 1633.
This is presumably translated from the Histoire des
tragigues amours d'Hippolyte et d'Isabelle, Napolitains,
Nyort, 1597; reprinted as Les Etranges Aventures
d'Hyppolyte et d'Isabelle, Paris, 1630. Reynier as-
cribes the work to Pierre Mathieu.
Langbaine gives this novel as the source of Middle-
ton's Women beware Women.
1631
65. The Mirrour for Mindes. Translated by Thomas May
from the Icon Animorum of John Barclay which ap-
peared in 1614. (526.g.)
Cf. no. 26, 1610.
1632
66. Eromena; or Love and Revenge . . . Now faithfully
Englished . . . from the Italian [of Biondi which
appeared in 1624] by J. H.' (i2470.k.9).
67. Gerardo, The Unfortunate Spaniard: or a pattern of las-
civious lovers; containing strange miseries of loose
affections. Made English by L[eonard] D[igges]
[From the Spanish of C6spedes y Meneses] (E.i234.b).
It was licensed for Blount as early as March 11, 1622,
was reprinted in 1653, and consists of a succession
of unhappy love stories related in ornate grandiose
style.
1 According to Howell, "J- H.," is J. Howard, for in a letter addressed to him
and dated Oct. 6, 1632, he commends his translation of Eromena and encloses
some verses (Familiar Letters, ed. J. Jacobs, London, 1892, i, 329.)*; but Fry,
p. 21, and the B. M. catalogue agree that it was Jasper Heywood. According
to T. Cooper, D.N.B., the latter died in 1598. Fry describes the work as a
folio but the B. M. copy is a quarto.
166
68. The History of George d, Greene. By Richard Johnson.
A prose version of the old ballads. (Thorns.)
69. The History of St. Elizabeth, daughter of the King of
Hungary. By H. A. (Ellis and White, no. 47.)
70. Hollandes Leaguer or an Historical Discussion of the Life
and Actions of Donna Brittanica Hollandiza. By
Nicholas Goodman.
This picaresque novel is founded on fact.
It furnished Shakerley Marmion with the material for
a play of the same name.
71. Unhappie Prosperity expressed in the Histories of Elius
Seianus and Phillippa the Calanian. Written in
French by Pierre Mathieu and translated by Sir
Thomas Hawkins. (10605.cc.)
A second edition was issued in 1639.
1633
■J2. PantaleonisVaticinia,Satyra. By Jacob Hume. Ratho-
magii (Begley).
1634
73. Certain Select Dialogues of Lucian together with his true
History. Translated from the Greeke . . . by Mr.
F. Hickes. Oxford. (io67.k.i7.)
In 1637, Thos. Heywood translated Pleasant Dialogues
and Dramas out of Lucian, in 1664, Sir Jasper Mayne
translated the Dialogues and Somnium; in 1684, a
rhymed version of the latter appeared; in 171 1, The
Works of Lucian were translated by "T. Brown and
several Hands"; and in 1727, W. Moyle published
Translations from Lucian.
1634
74. Eryci Puteani Comus sive Phagesiposia Cimmeria. Som-
nium. Oxford. (Begley)
Previously printed at Louvain in 1609 and 161 1.
It was translated into French in 1613 as Comus, ou
Banquet dissolu des Cimmeriens. Songe. This
French translation may be the original of the Cim-
merian Matron of 1668.
166
75- A Saxon Historie of the Admirable Adventures of
Clodaldus and his Three Children. Translated out
of the French of C. N. by Sir Thomas Hawkins.
(Huth.)
76. The Troubled-spirited Man's Departing; or a Wonderful
Relation of the wilfull murder committed by Thomas
Mince . . . upon his own person with the true copy of
a letter written by his hand. 4. (E. 690.(2).)
A news-sheet.
1635.
77. Amanda, or the Reformed Whore. By Thomas Cranley.
This verse and prose narrative was reprinted in 1639 as
The Converted Courtezan; or the Reformed Whore.
Being a true relation of a penitent. . . . under the
name of Amanda. (c.30.e.33.)
78. The Arcadian Princess; or the Triumph of Justice . . .
from the Italian by R. Brathwaite.
A verse and prose narrative.
79. Donzella Desterrada, or the Banished Virgin. Written
originally in Italian by Cavalier Geo. Francesco
Biondi . . . divided into three books and Englished
by J. H. of Graies Inn, Gent.^ (i247o.k.io.)
80. The History of Blanchedyne.
Sold to George Blackwell, Nov. 4, but not mentioned
elsewhere.
81. The History of the Serrail and of the Court of the Grand
Seigneur, Emperor of the Turkes. Translated from
the French of M. Boudier. [Paris, 1624.] (Upham)
82. A Tragi-comical History of Our Times under the Borrowed
Names of Lisander and Calista. Translated from
the French of G. de Costa [Paris, 1615] by W. D.
(Col.)
Although licensed for Latham as early as August 25,
1626, this seems to be the first edition. It was re-
printed in 1652. An incomplete version by W[illiam]
B[arwich] under the title of Love and Valour etc.
appeared in 1638.
'See note i, p. 164.
167
1636
83. Ariana. In two parts. As it was translated out of
the French of J. Desmarets de Saint Sorlin.
(i34.n.2.)
Reprinted in 1641.
1637
84. Clidamus or Sicilian Tale.
Licensed February 25 for Thos. Payne but I have found
no further record.
85. Endimion de Gombauld. Translated out of the French
[Paris, 1624] by Richard Hurst. (Upham.)
A second edition appeared in 1639.
86. Icaria. By John Bissel 1638. (i052.a.i.)
87. Four True Tragi-Comical Histories of our Late Times by
the names of The Lady Cornelia, The Force of Blood,
The Two Damsels, and The Spanish Lady. By Don
Diego Puedeser. Translated from the Spanish of
Cervantes [1613] by James Mabbe.
Other editions are ais follows:
1640, The Exemplarie Novels; in sixe books . . . full
of various accidents both delightful and profitable &f.
Turned into English by Don Puedeser, i. e., James
Mabbe. 1654, the above reprinted as Delight in
Several Shapes. 1694, Select Novels, The first six' by
Miguel de Cervantes . . . the other by Francis Pe-
trarch tr. by Wm. Pope. lyog. El Zeloso Estremeno;
the jealous Estramaduran, a Novel; with the Fair Maid
of the Inn; the History of the Captive; the Curious Im-
pertinent; the Prevalence of Blood; the Liberal Lover;
and the Rival Ladies. 1728, A Collection of Select
Novels, written originally in Castillian . . . made
English by Harry Bridges. Bristol. 1729, A Select
Collection of Novels and Histories. Ed. Samuel
Croxall.
88. Histoire de Larrons or the History of Theeves written in
French [in 1636] and translated out of the original by
P. G. (Upham and B. de A.)
168
89. The Lives and Singular Vertues of Saint Elzear, Count of
Sabran and his Wife. Translated from the French of
Etienne Binet, by Sir Thomas Hawkins. (10604.cc.)
1638
90. The Comical History of the States and Empires of the
Worlds of the Moon and the Sun. Translated from
the French of Cyrano de Bergerac [Paris, 1638]
by A. Lovell. (Upham.)
Another edition, (the earliest recorded in B. M. cata-
logue) appeared in 1687.
91. The Man in ike Moone; or a Discourse of a Voyage Thither
by Domingo Gonsales, the speedy messenger, i. e.,
Francis Godwin.
Reprinted with Nuncius Inanimatus and as "By F. G.,
B. of H." in 1657. French translations were printed
in 1648 and 1671 and German in 1659 ^^^ 1660.
92. The Sonne of the Rogue or the Politick Theefe. With the
Antiquities of Theeves. First Written in Spanish by
Don Garcia, Afterwards translated into Dutch and then
into French by S. D'Audiguier. Now Englished by
W. M. (i2330.a.3i.)
In 1650, a duplicate was printed with the title Lavernae,
or the Spanish Gypsy: the whole art, mystery, antiquity,
company, noblenesse, and excellency of theeves and
theeving; and in 1659, it was reprinted as A Scourge
for a Den of Thieves.
93. The Unfortunate Politique. From the French of C. N.
By G[eorge] P[icot], Oxford. (Upham.)
1639
94. A Boulster Lecture . . . the History of Philocles and Do-
riclea. By Philogines Pandinius.
Licensed November 25, for Bishop.
95. The Court Secret, a Novel. A political satire by P. B.,
i. e., Peter Belon.
This may be the same as The Court Secret, a melancholy
Truth Translated, advertised in 1741.
96. An Epitome of all the Lives of the Kings of France. . . .
169
Translated out of the French Copy by R. B. Esq. [R.
Brathwaite]. (G. 140. 22.)
97. Exemplary Lives and Memorable Acts of Nine Worthy
Women, three Jews, three Gentiles, and three Christians.
By T[homas] H[eywood].
Licensed Sept. 23, for R. Roiston.
98. The History of Anaxander and Orazia. Translated by
William Duncomb from Boisrobert's Histoire In-
dienne, Paris, 1629.
Licensed March 3.
There was another edition by "W. G." in 1657.
(Upham.)
99. The Isle of Pines, or a late Discovery of a fourth island
near Terra AustraUs Incognita, by Henry Cornelius
von Sloetten, i. e., Henry Neville.
The island is supposed to be inhabited by the descen-
dants of an Englishman named George Pines,
amounting in the fourth generation to about ten
thousand persons. Dull and coarse. (Quaritch.)
1640
100. Hell Reformed or the Seventh Vision of Don Ffrancisco
Quevedo, with Lucifer's .decree in the behalf of the
Lady Prosperity.
Licensed Feb. 7, for Symon Burton.
loi. The Love and Arms of the Greek Princes, or The Romant
of Romants. Written in French by Monsieur Verdier
[1626] and translated for Philip, Earle of Pembroke
and Montgomery, Lord Chamberlaine to his Majesty.
By Saulnier. 3 tom. folio. (837.1.27.)
102. The Spanish Gallant of Dantisso translated by William
Styles.
Licensed May 2, for Lee.
103. The Tragi-comical History of Alexander and Angelica,
containing the Progress of a zealous and masculine
Love. (i076.b.9.)
A novel of the narrative-comedy type and almost cer-
tainly a translation; possibly of R. Montagathe's
Angeligue, Paris, 1626.
170
104. -4 True and Strange Relation of seven years slavery under
the Turkes of Alger es, suffered by an English captive
Merchant.
Licensed March i6 for Sparkes.
There were many pamphlets on this subject.
105. The Two Lancashire Lovers: or the Excellent History of
Philocles and Doriclea. Expressing the faithful con-
stancy and mutual fidelity of two loyal lovers. By
Musaeus Palatinus Pereo.
Printed by Edward Griffin for R. B. [Brathwaite?]
The only mention of this work occurs in the Huth
Catalogue where it is described as a prose and verse
narrative. Is it the same as The Boulster Lecture,
1639? See no. 94.
1641
106. The Academy of Love Describing ye Folly of Young Men
and the Fallacy of Women. By J. Johnson. (G.
10447.)
107. The Kingdom of Macaria. By Samuel Hartlib.
, Reprinted in the Harleian Miscellany, iv. 380.
Macaria is the name of the Utopian island in Com-
mentariolus de Eudaemonensium Republica by Gaspar
Stiblin [Basle, 1553]. (Begley.)
108. The Life of Merlin surnamed Ambrosius etc. (2473.13.)
A compilation of the history of England. (Quaritch.)
109. The Memorials of Margaret de Valois. Translated by
Robert Codrington from the MSmoires de la Reyne
Marguerite [Paris', 1628]. (io66i.b.)
Reprinted in 1658, 1666.
1642
no. The Just Reward of Rebels; or the Life and Death of Jack
Straw and Wat Tyler.
Reissued in 1654 as The Idol of the Clownes or the in-
surrection of Wat the Tyler [by J. Cleveland].
(1325.3.)
1643
III. The Pathway to Peace with Truth and Holiness. (E.
ii8i.(i).)
171
Reprinted in 1720 as A Plain Pathway to Heaven &.
A homily with very slight narrative interest.
1644
112. Dodona's Grove or the Vocall Forest. By James Howell.
Part I in 1644. Part II, 1645.
A second edition was printed 1649-50 for Mosely.
(Col. 823.h.83 PI.)
1645
113. 4 Strange and Wonderful Example of God's Judgment
shewed upon J. Brathwaite of Shoreditch. (E. 305.
(II-))
A news-sheet.
1646
1 14. The Life and Death of the illustrious Robert, Earl of Essex.
By R. Codrington. (E. 1468(2.))
Reprinted in 1744.
I do not know how large a part fiction plays in this
biography.
1647
115. Aurora and the Prince by Don J. P. de Montalvan [Novela
I of Successes y Prodigios de Amor] and Oronta, the
Cyprian Virgin [a poem] by Sign. Girolamo Preti.
Translated by T[homas S[tanley]. (E. 1146(1).)
Reprinted with modifications in 1650.
116. 'EpoToiratyviov; or the Cyprian Academy. By Robert
Baron, Gent. (643. b. 19.)
A romance in prose and verse interspersed with masques
and songs.
117. The Divell a Married Man &. Translated from Machia-
velli's Belphegor.
Also contained in Select Collection of Novels, 1722.
118. The History of Polexandre, in five books. Translated
from the French of Gomberville [Paris, 1632] by
William Browne.
1648
119. The Late Storie of Mr. William Lilly [concerning his
172
transactions with the Lady Arabella Scroope] (E.
425-(3)-)
A political pamphlet.
120. Nova Solymae Libri Sex. (C.62.a.7.)
Translated and printed by Walter Begley, London, 1902.
1649
121. The Confession of R. B. [Richard Brandon] the hangman
{upon his death bed) concerning his beheading his late
Majesty Charles the ist. (669.f.i4(5i).)
A reprint and two variations appeared the same year.
122. The History of the most illustrious lady Queen Margaret
daughter to Henry II. Translated by R. Codrington
from the French. (Upham.)
123. Plantagenet's Tragicall Story; or the death of king Edward
the fourth. By T. Weaver, Gent. (Halliwell.)
This may be verse.
1650
124. A Continuation of Sir Philip Sidney's Arcadia wherein
is handled the Loves of Amphialus and Helena, Queen
of Corinth; Prince Plangus and Erona; with the His-
tory of the Loves of old Claius and Strephon to Urania.
Written by a Young Gentlewoman, Mrs. A[nna]
W[eames]. (Sommer.)
A "second edition" was advertised in the T. C. for
May, 1690, by Nathaniel Crouch.
125. The Flower of Fidelitie. By John Reynolds. (E.1236.
(I).)
The fourth edition was advertised in the T. C. for May,
1692, as The Garden of Love and Royal Flowers of
Fidelity.
126. History of the most Renowned Queen Elizabeth and her
Great Favorite the Earl of Essex. A Romance.
Translated from the French of Devereux. (i26i3.d.)
It was reprinted in 1680, as The Secret History of Queen
Elizabeth and the Earl of Essex. Another edition
appeared in 1690 and it was advertised in the T. C.
for May, 1703.
127. The Loving Enemy. Translated by Major Wright from
the French of John Peter Camus. (Upham.)
173
1652
128. Choice Novels and Amorous . . . Tales; written by the
most refined Wits of Italy; newly translated into
English. (Bodleian.)
129. The English Gusman, or the History of that Unparalled
Thief James Hind. By George Fidge. (E.651.20.)
Reprinted in 1692 as The Notorious Impostor. *
130. The Fables of Aesop paraphrased in verse, and adorned
with sculptures. By John Ogilby.
In 1666 R. Codrington published a translation, in 1698
there was a Latin edition by Anthony Alsop and in
1703, two other translations, Aesop's Fables with his
Life, in English, French, and Latin, the English
translation is in verse by Mrs. Behn (Quaritch),
and Aesop's Fables, in English and Latin, inter-
lineary. L'Estrange's Aesop appeared in 1692.
131. The Famed Romance of Cassandra [Cassander] . . .
elegantly rendered into English by "A Person of
Honour." Books I to III. (86.L.1.)
In 1661 the entire work was translated by Sir Charles
Cotterell, in 1676 there was a second edition, and
in 1725 a third, while in 1703 appeared the trans-
lation "by several hands," from the French of G.
de Costes, Seigneur de la Calpren^de, [Paris c. 1642.]
(12512.ee. 7.)
132. The Fifth Book of Amadis de Gaule. Translated by
Francis Kirkman.
The first book was translated by Munday in 1598.
The sixth book was added by J. Johnson in 1664. All
were often reprinted. See List of Reprints.
133. The Gallery of Heroic Women. Translated by the
Marquis of Winchester from the French of John
Pourlett.
Mentioned by Howell, Letter v, Bk. iv, and also by
Walpole in the Cat. of Royal and Noble Authors.
134. The Heroe of Lorenzo [i. e. Baltasar Gracian] or the Way
to Eminence and Perfection. Translated by Sir J.
Skeffington from the Spanish. (84o6.a.27.)
174
135' Hind's Elder Brother; or the Master Theefe Discovered,
i. e., Thomas Knowles. (£.652.(9).)
136. Hymen's Praeludia; or Love's Masterpiece; being the
first part of that so much admired romance, intituled
Cliopdtre, [by G. de Costes, seigneur de la Cal-
prenede, Paris, 1647-58] now rendered into English
by R. Loveday. Whereunto is annexed a succinct
abridgement of what is extant in the succeeding story;
by the same hand. (E. 1327.)
In 1654, part 2; in 1655, part 3; in 1658, part 7, by J.
Coles; in 1658, part 8, by J. Webb; in 1665-63-59,
the collected parts together with parts 9-10, 12 by
J. Davies. In 1674, the whole appeared in Loveday 's
name and in 1687 was advertised for R. Loveday.
137. Ibrahim, or ike Illustrious Bassa, an excellent new romance
. . . Written in French by Monsieur de Scudery [Paris,
1641-52] in four parts. Englished by H. Cogan.
(837-I.I5)
In 1674, there was another edition.
138. Knights of the Blade. A notable and pleasant history of
the famous renowned Knights of the Blade, commonly
called Hectors or St. Nicholas Clerkes. (Malone.)
139. The Loves and Adventures of Clerio and Logia. Trans-
lated into English by F[rancis] K[irkman] from the
French [Amours de Lozie by A. du P6rier Paris 1599].
(£.1289.(2).)
140. Nature's Paradox: or the Innocent Impostor. A pleasant
Polonian History, originally intituled Iphigenes.
Compiled from the FrenchTongue [i. e., from the work of
F. P. Camus] by Major Wright. (C0I.843.C. 153.T.5.)
141. The Troublesome and Hard Adventures in Love. Trans-
lated [from Cervantes] into English by R. Ciodrington) ,
Gent. (E.647(i).)
142. We have brought our hogs to a fair market; or strange newes
from New-gate; being a novel, pleasant and historical
narrative of J. H. [John Hind]. 4. (£.793.(10).)
Revised Jan. 26 as "A Pill to Purge Melancholy"
and again in 1653 as No Jest like a true Jest, and
as Wit for money. (£.652.(2).)
175
1653
143- Artamhnes, or the Grand Cyrus, an Excellent New
Romance. Written by Monsieur ScudSri [Paris,
1649-53] • • • Translated by F. G. (86.k.i5.)
It was advertised by Mosely in the T. C. for May, 1691 ,
as was also Philoxixes and Policute translated from
Cyrus by an Honourable Personage.
144. Gloria and Narcissus. A Delightfull and New Romance,
Imbellished with divers Politicall Notions, and Singu-
lar Remarks of Moderne Transactions. Written by an
Honourable Person. Pt. II. appeared in 1654, Pt.
III. in 1655 and a new ed. under the title The
Princess Gloria in 1661. 823(62).
145. The Works of Rabelais. Bks. i and 2. Translated by
Thos. Urquhart.
1654
146. Dianea: an Excellent New Romance. Translated from
the Italian of G. T. Loredano the younger by Sir
Aston Cokaine. (i2477.bb.8.)
147. Eliana. By Samuel Pordage. (Dunlop.)
148. The Extravagant Shepherd, or the History of the Shepherd
Lysis. Translated by J. Davies from the French of
Charles Sorel.
149. Heptameron, or the History of the. Fortunate Lovers, now
made English by R. Godrington. (£.1468.(2).)
As early as 1597 there was a translation of this work of
Margaret of Navarre.
150. Nissena, an Excellent New Romance; written originally
by an Italian Garmeni and now Englished by an
Honourable Anti-Socordist. [£.1234(2).]
151. Parthenissa, the famed Romance, by Roger Boyle, Earl
of Orrery. The first four parts.
Another edition with two additional parts appeared in
1669.
152. Pleasant Notes on Don Quixote. By John Gayton.
(Lit. of R., p. II4-)
153. Triana: or A threefold Romanza of Mariana, Paduana,
Sabina. (G. 10366.)
There was a second edition, 1664. [By Joseph Hall?]
176
1655
154- The Comical History of Francion, translated from the
French of Sorel. [Paris, 1622.] (Upham.)
155. Coralbo: a New Romance in three books. Written in
Italian [by F. G. Biondi (1635)] and now faithfully
rendered into English. (i2470.k.8.)
156. Wil BagnaVs Ghost: or the Merry Devill of Gadmunton
in his Perambulation of the Prisons of London. By
Edmund Gayton. (E. 861. 4.)
A series of satires in prose and verse.
1656
157. Clelia. An Excellent New Romance. Translated from
the French of Mile, de Scudery [Paris, 1654-56].
Parts i to iv by J. Davies, Parts iv and v by G.
Havers.
The complete work was printed in 1661 in five volumes
and there was another edition in 1678.
158. The Commonwealth of Oceana. By James Harrington.
(52i.k.io.)
Other edition appeared in 1700 and 1731.
159. The Illustrious Shepherdess. Translated by "E. P."
from the Successos y Prodigios de Amor of Perez de
Montalvan. (E. 1588(1).)
160. The Most Pleasant History of Bovinian. Being an
addition to that most delightful history of Crispins
and Crispianus. (12613.C.)
The first chapter is numbered 16.
161. Nature's Pictures drawn by Fancie's Pencil to the Life.
By Margaret Cavendish, Duchess of Newcastle.
(G. 1 1 599-)
It was reprinted in 1671.
The volume contains "several feigned stories and
natural descriptions as comical, tragical etc."
162. .4 Relation of the Life of Christina, Queen of Sweden.
By J. Howell. (Upham.)
163. The Trepan. {Lit. of R., i. 148.)
164. The Witty Rogue Arraigned, Condemned, and Executed;
177
or the History of ... R. Hainman relating the several
robberies, mad pranks and handsome jests by him per-
formed. Together with his speech at the place of exe-
cution. (E.882.(8).)
Reprinted as The English Villain or Grand Thief.
165. Don Zara del Fogo; a Mock Romance. Written originally
in the Brittish Tonge and made English by Basilius
Musophilus, i. e., S. Holland. (12212 d.)
This was reprinted in 1660 as Romancio-Mastix; or
a Romance of Romances and in 1 719 as The Spaniard;
or, Don Zara del Fogo &
1657
166. Guzman Hind and Hannan Outstript. {Lit. of R., p. 15.)
167. The Life and Adventures of Buscon the witty Spaniard.
Put into English by a Person of Honour to which is
added the Provident Knight.
Other editions appeared as follows :
1670, second edition.
1683, abridged as The famous history of Auristella.
Originally by Don Gonsales de Cespedes, Together
with the pleasant story of Paul of Segovia by Don
Francisco de Quevedo. Translated from the Spanish.
1707, The Comic Works of Don Francisco de Quevedo
Translated by John Stevens, reprinted in 1709
and 1742.
168. Novels of Scarr on. Translated by J. Da vies.
John Davies translated the Hypocrites, The Fruitless
Precaution, and the Innocent Adultery of Scarr on
in 1657, issuing them separately; the four novelle
from the Roman Comique he issued in 1662, collecting
them in 1667, and in 1670 bringing them out as the
Unexpected Choice. The Hypocrites is from Les Hypo-
crites a redaction of La Hya de Celistina by Alonsa
Geronimo de Salas Baradillo. (Upham and D.N.B.)
1658
169. The Devil of Mascon. Or a true Relation. [By Francois
Perrault], Oxford. (Gay.)
13
178
170. The Grand Cabinet- Counsels Unlocked. By Margaret
of Valois, translated by Codrington. (Upham.)
171. Panthalia; or, The Royal Romance. A discourse stored
with infinite variety in relation to state governement
. . . Faithfully and ingeniously rendered. {The opinion
of a native Candiot, touching this royal romance. To
the living memory of Catalion Pomerano, author of
Panthalia, etc., [Signed Florencio Tribaccio] (E. 1797
(I).)
1660
172. Bentivolio and Urania. In six books. By Nathaniel
Ingelo, D.D. (823.1n. 4.O.)
This lengthy and uninteresting religious allegory was
reprinted in 1660, 1673, and 1683, the last advertised
as the "fourth edition."
173. Olbia: the New Island lately discovered. By a Christian
Pilgrim (John Sadler). Printed for Samuel Hartlib.
(521, g.2.)
174. Le Prince d' Amour, or the Prince of Love. Translated
from the French of Martin Fum6e by Sir Benjamin
Ruddin, or Rudyerd. (Malone).
175. Scipion. Translated from the French of Pierre de
Hortigues de Vaumoriere. [Paris, 1656-62.]
i66r
176. Aretina; or the Serious Romance. By Sir George Mack-
enzie. (C.57,aa.28.)
177. Description of a new World, called the Blazing World,
By Margaret Cavendish, Duchess of Newcastle.
(Harvard, Eng. Lit., 15461.4.)
178. Don Juan Lamberto; or a Comical History of the Late
Times. The Second Part, by Montelion Knight of
the Oracle. (E. 1048 (8).)
The two parts were reprinted in 1664.
The first part was presumably written about 1658.
The work is sometimes attributed to John Phillips,
sometimes to Flatman.
179. Love at First Sight, or the Gay in a Flutter and the Method
of Curing Oneself of Love. (Gay.)
179
i8o. The Wandering Whore. (Lit. of R., i. 207 n.)
1663
181. The History of Henry IV. . . . King of France and
Navarre .... Translated by J. Dauncey Beau-
mont de Perefixe from the French of Jean Sombix
[Leyden and The Hague, 1663] (284, a.21).
It was reprinted in 1672.
182. The Lawyers Clarke Trappan'd. [Lit. of R., i. 149.)
183. A True Account of the Tryal ofMrs. Mary Carleton.
{Lit. of R., i. 149.)
1664
184. Birinthia, a romance. Written by J. B., Gent. (635, c.3.)
185. CCXI Sociable Letters. By Margaret Cavendish, Duchess
of Newcastle. (G. 115 98.)
186. A Pilgimage into the Land of Promise. By Henry Vane.
(4403, g.)
187. The Satyricon of T. Petronius Arbiter.
Reprinted in 1677 and 1743.
Retranslated by T. Brown in 1708 and by John Addison
in 1736.
1665
188. A Choice Banquet of Witty Jests, Rare Fancies, and
Pleasant Novels. By J. T. (Malone.)
189. The English Rogue described in the life of Meriton Latroon
Being a compleat history of the most eminent cheats.
By R. Head. (12613, cc.22.)
In 1 67 1 was added The English Rogue, Parts j and
4. By Francis Kirkman.
Other editions are:
1679, Life and Death of English R.
1680, (Malone).
1689, The E. R. or Witty Extravagant.
1693, (advertised in the T. C. for November).
1 701, (advertised in the T. C. for November).
1723, with pts. 5-7 "Seventh" ed.
190. The Highway-woman celebrating Marcy Clay. (Lit. of R.,
i. 151.)
180
191. Pandion and Amphigenia: or, the History of the Coy Lady
of Thessaly. By John Crowne. (i26ii.f.)
192. La Picara, or the triumphs of Female Subtility . . . En-
riched with three pleasant novels. Rendered into
English with some alterations and additions by John
Davies of Kidwelly.
Other editions are:
The Life of Donna Rosina. A novel. Done into English
by the ingenious Mr. E. W. (A compression of the
1665 ed.)
The Spanish Pole-cat; or the Adventures of Donna Rusina;
in foure books. Begun to be translated by Sir Roger
V Estrange and finished by Mr. Ozell 1717. Reprinted
as Spanish Amusements: or the Adventures of that
Celebrated Courtezan, Senora Rusina.
Three Ingenious Spanish Novels: namely, I. The Loving
Revenge: Or, Wit in a Woman. II. The Lucky Escape
or. The Jilt Detected. III. The Witty Extravagant:
Or, The Fortunate Lover. . . . Translated with Ad-
vantage By a Person of Quality. The second ed., 1 712.
(Really Davies' translation but not the titles nor the
order of his novels.)
In 1707 it was translated in The Spanish Libertines or
the Lives of Justina, the Country Jilt; CeUstina the
bawd of Madrid, and Estevanillo Gonzales, The most
Arch and Witty of Scoundrels. To which is added
a play, an Evenings Adventures. All four written by
eminent Spanish authors and now first made English by
Captain John Stevens.
1667
193. The Visions of Don Francisco de Quevedo y Villegas [Mad-
rid, 1627], made English by Roger L'Estrange.
Other editions appeared in:
1668, 1671, 1673, 1678 (sixth ed.), 1682 (with an
■ apocryphal sec. pt.), 1688, 1689, 1696, 1702, 1708
(tenth ed.), 1715.
1702 burlesqued in verse, and in the New Quevedo,
or Visions of Charon's Passenger^.
181
1668
194- The Cimmerian Matron, to which is added the Mysteries
and Miracles of Love. By P. M., Gent.] (Fry, 184-6.)
See no. 74, 1634.
195. The Husband forced to be jealous, or the good fortune of
those women that have jealous husbands. Translated
by N. H. from the French [Paris, 1663]. (1081, d.28.)
196. The Loves of Charles, Duke of Mantua, and Margaret,
Countess of Rovers. Translated out of Italian.
Advertised in November for Knight and Saunders and
by the same publishers, in May, 1685, as the Amours
etc., translated out of the Italian.
197. A Relation of the Country of the Jansenia never till now
described. Wherein is treated of the singularities
found therein, the customs, manners, and religion of
its inhabitants. With a map of the country.
"Composed in French by Louis Fontaine [Zacharie des
Liseux, Capuchin] in 1660 and newly translated into
English by P. B." (Begley.)
Since this was written about the time of the Jansenist
controversy it is probably a satire on Jansenism.
1669
198. The History of Targuin and Lucretia. By Philander.
(Malone.)
199. Psittacorum Regio. The Land of Parrots; or the Shetlands,
With a description of other strange adjacent countries
in the Dominions of the Prince d' Amour, not hitherto
found in any geographical map. By one of the most
reputed wits. (Begley.)
1670
200. The Fortunate Fool. Written in Spanish by Don Alonso
Geronimo de Sales Barbadillo of Madrid. Translated
into English by Philip Ayres, Gent. (R. of R.)
201. The Gentleman Apothecary; Being a Late and True Story
turned out of the French [of J. de Villiers]. (1081,
i.2.)
A lively account of an indecorous episode.
182
202. Les Heureuses Avantures d'Amour. By Roger Bon-
temps. A translation (1081, 1.2.)
Clever and rather licentious anecdotes characterized by
remarkably witty repartee.
203. The Memoirs of Monsieur Du Vail: containing the history
of his life and death. Whereunto are annexed his
last speech and epitaph. By W. Pope. (1132, 9.62.)
Reprinted in the Harleian Miscellany, III, 1808.
204. The Unexpected Choice. A Novel . . . Rendered into
English [from the Plus d'Effets que de Paroles of
Scarron]. By J. Davies. Cf. no. 168, 1657.
Included in Scarron's Complete Works, translated by T.
Browne, in 1700 and reprinted in 1703 and 1727.
(1074 K. 10.)
See no. 427.
1671
205. The Amorous Travellers, or Night Adventures. Written
originally in Spanish by A Person of Honour. Trans-
lated into French by the exquisite pen of the Sieur
Deganes and into English by J. B.
Advertised, Michaelmas term, by Ambrose Isted and
J. Edwin.
206. The Inconstant Lover: an excellent Romance. Translated
out of French. (012550, g.17.)
This typical story of "gallant loves" is told by the
principal hero Alcidor to the girl he finally marries.
In many places it is satirical and markedly anti-
Platonic.
207. A Letter concerning the . . . country of Muley Arxid,
King of Taleletta. The Relation of a Voyage into
Mauritania. (980, b.25 (1-2).)
This same year appeared a variation.
208. Loves Journal: a Romance made of the Court of Henry II.
of France. Printed at Paris [1670] and now made
English. (125181, bbb.53.)
This account of the "amours" of historical personages
is in no way remarkable.
209. Madame Wheedle or the Fashionable Miss Discover' d.
By R. Head. (Gay.)
183
210. Philosophus Autodidactus, sive Epistola Abu Jaafar Ebn
Tophail de Hai Ebn Yokdhan; in qua ostenditui guo-
modo ex inferiorum contemplation ad superiorum
notitiam ratio humana ascender e possit. Ex Arabia
in lingua Latinam versa ab Edward Pocockio. Oxford .
(Advocates Lib.)
In 1700 the Latin edition was emended.
In 1674 it was translated into English by G. Ashwell,
as An Account of the Oriental Philosophy, etc., and
in 1708, it was newly translated into English by
Simon Ockley as The Improvement of Reason.
211. TheVisionofTheodorusVerax. By Bryce Blair. (12350,
a.)
A curious little satire.
1672
212. The Annals of Love, Containing Select Histories of Amours
of Divers Princes. Pleasantly related. (12414, eee.).
213. The Drudge or the Jealous Extravagant. A plea for
Gallantry.
Advertised by Herringman in Easter Term.
214. Flagellum, or the Life and Death, Birth and Burial of
Oliver Cromwell, the late Usurper.
Advertised by Randall Taylor, Michaelmas Term.
215. History of the five Wise Philosophers, or the Wonderful
Relation of the Life of Johosophat, the Hermit, son to
Avenerio, King of Bairn in India. . . . Manner of
conversion to ihe Christian Faith.
This old story, presumbly in a new guise was advertised
by Page, Passenger and Harlock in Hillary term,
and again in May, 1692.
216. History of the French Rogue; being a pleasant History of
his life and fortunes, adorned with variety of other
adventures; with epigrams suitable to each stratagem.
Advertised in Hillary term for Lowndes.
217. Theopolis or the City of God; New Jerusalem in Opposition
to the City of the Nations, Great Babylon.
Advertised by Nathaniel Ponder, Hillary Term.
184
1 673
218. The Counterfeit Lady Unveiled. Being a full Account
of the Birth and Life and most remarkable actions and
untimely death of Mary Carleton, known by the name
of the German Princess.
Advertised in Hillary Term for Peter Parker and as
The Memories of Madame Charlton for Brooks and
Newman. (10825. aa.)
219. The Floating Island: or, a new discovery relating the strange
adventures on a late vouage from Lambethana to Villa
Franca, alias Ramallia, to the eastward of Terra del
Templo, by three ships viz. the Paynaught, the Excuse,
the Least-in-Sight. Under the Conduct of Captain
Robert Owe-much . . .
Advertised in Trinity Term by Frank Careless for
Randall Taylor, and Langbaine mentions a play of the
same name. (Huth.)
220. The History of the Fair One of Tunis, or the Generous
Mistress. A new piece of Gallantry. Out of the
French.
Advertised in Michaelmas Term, by Henry Brome.
221. The Life and Death of Edward the Black Prince.
Advertised by Buck in Hillary Term.
222. The Loves of Sundry Philosophers and Other Great Men.
Translated out of French.
Advertised in Hillary Term for Herringman and Starkey
and in Trinity Term for the same publishers. The
Amours of Solon, Socrates, Julius Caesar, Cato of
Utica, d'Andelot and £ussy d'Amboise.
223. The Mercury Gallant; containing many true and pleasant
relations of what hath passed at Paris from Jan. i,
1672, till the King's departure thence.
Advertised in Hillary Term by B. Parker.
224. The Unlucky Citizen Experimentally described in the various
misfortunes of an unlucky Londoner . . . intermixed
with several choice novels . . . illustrated with pictures.
By F. K., i. e., Francis Kirkman, (G.17717.)
See Lit. of. R., i. 211 +.
185
225- The Witty Jests and Mad Pranks of John Frith . . . with
Capt. James. {Lit. of R., i. 141.)
1674
226. An Account of Oriental Philosophy, i. e., Abu Jaafar
Ebn Tophail. See no. 219, 1671.
227. Erastus or the Roman Prince. Being a full Account of
that famous History of the Seven Wise Masters. (Fry.)
Francis Kirkman translated this from the French
Erastus in 1674. It was reprinted in 1684.
(Quaritch.)
Roland's translation of The Seven Sages, compiled in
1547, was reprinted in 1620.
228. The Grand Pyrates; or the Life and Death of Captain
George Cusack, Pyrate, and six Companions. {Lit.
of R., i. 141.)
Advertised for Jonathan Edwin, Easter, 1675.
229. Jackson's Recantation, or the Life and Death of the No-
torious Highwayman.
Advertised in Easter Term by Newman.
230. Legend of Captain Jones, Relating his Adventures at Sea,
first landing and combat with a mighty bear.
Advertised in Michaelmas Term.
231. Sad and Lamentable News from Rumford being a true and
dreadful relation of the sad and dreadful end of W.
Stapeler. (1132, b.78.)
232. The Secret History of the Court of the Emperor Justinian
Written by Procopius of Ccesario. Faithfully ren-
dered into English.
Advertised in Trinity Term by Barkesdale.
1675
233. Beraldus, Prince of Savoy. A novel in two Parts. Trans-
lated out of French by a Person of Quality.
Advertised Easter Term for Grantham and J. Crump.
234. The Bloody Innkeeper, or sad and barbarous News from
Glocester-shire; being a true relation how the bodies of
seven men and women were found murthered in a garden
belonging to a house in Pulley near Glocester. With the
186
strange . . . manner how the same was discovered, etc,
(10803, aa. 16. (i).)
235. The History of the Sevarites of Severambi. By Captain
Siden. Part I.
In 1678 appeared in Paris, a second part in French, and
in 1679 a second part in English.
Crossley attributes the whole to one Vossius, a Dutch-
man resident in England. Begley agrees with
Prosper Marchand, that it was written by Denis
Vairasse D'allais En Longuedoc, primarily because
the initials at the close of the introduction are D.V.
D.E.L.; but these initials appear only in the French
versions.
1676
236. Don Carlos; an historical relation of the Life and Death
. . . of that Spanish Prince son to Philip II. from
the French of Vischard de Saint R6al by H. J. [1672].!
In Michaelmas Term Herringman advertised a "second
edition."
1729, reprinted in a Select Collection of Novels, vol. iii.
(12602, aaa.)
It was upon this romance that Otway founded his play
" Don Carlos." (1676.)
237. English Adventures. By a Person of Honour (Roger
Boyle). (G. 17716.)
It is from this story that the plot of Otway's "Orphan"
is said to be derived.
238. History of the Grand Viziers Mahomet and Achmet Cop-
rogli . . . with the most Secret Intrigues of the Ser-
aglio.
Advertised in Michaelmas Term by Browne.
239. Scarron's Comical Romance; or, a facetious History of
A Company of Strolling Players. Translated by
P. Porter. (12510, 1.2.)
1 According to the D.N.B. the English version appeared in 1674 but I can
find no authority for that date and F. W. C. Leider who has made a special
study of this subject — "The Don Carlos Theme in Literature," in /. of Eng.
and Germ. Philology, Oct., 1910, ix, 4, 483-499 — gives the date of the trans-
lation as 1676.
187
It was re-translated in 1700 by T. Browne in Scarron's
Complete Works. And other editions appeared in
1703 and 1727.
240. The Sicilian Tyrant, or the Life of Agathocles; with some
Reflections on our late Usurpers.
Advertised in Easter Term by R. Royston.
241. Tachmas, Prince of Persia. An Historical Novel; which
happened under the Sophy Soleman who reigns this
day. Translated by P. Porter.
Advertised in Michaelmas Term.
Langbaine mentions it as a source for Southerne's Loyal
Brother.
242. A True Narrative of a Wonderful Accident which occurred
upon the Execution of a Christian slave at Aleppo.
(816, m.23.22.)
243. A True Tragical History of Two Illustrious Families under
the names of Alcimus and Vannoza. Written in
French by the learned J. P- Bishop of Belley. Done
into English by a Person of Quality.
Advertised in Michaelmas Term by Wm. Jacob.
244. Zelinde, an Excellent New Romance, translated from the
French of Monsieur de Scudiry. By T. D. [Thos.
Durfey or Duffet?]
Included in Mod. Nov., vol. vii.
This is a burlesque rendering of Voiture's Alcidalis.
1677
245. Almahide, or the Captive Queen. Translated from the
French version of M. de Scudery [1660] by John
Phillips. "An excellent new romance, never before
in English, which work written in French by the
accurate pen of M. de Scudery. . . . Done into
EngHsh by J. P., Gent." (Col. 843, Scu. 21.)
246. Asteria and Tamberlaine, or the Distressed Lovers. A
Novel written in French and Englished by E.C.
Advertised Trinity Term by R. Sollers.
In 1681, Langbaine mentioned it as "done by Ch.
Saunders." See no. 285, 1680.
47. Capello and Bianca, a novel. Written in French and now
Englished by L. N., Gent.
188
Advertised Michaelmas Term by Enoch Wyer.
248. The Cheating Gallant: or the false Count Brian. A pleas-
ant novel. Translated from the French [of Gabriel
de Bremond, Paris, 1677] by a Person of Quality.
Included in Mod. Nov., vol. ii.
249. The Confessions and Execution of the Jive prioners suffer-
ing at Tyburn. By T. Sadler. (6495,aa.2(3).)
Revised as Sadler's Memoirs. (1132,3.29.)
250. Evagoras. A romance. By L. L., Gent. (Huth.)
Advertised Hillary Term for Robt. Clavel and Th.
More.
251. The Happy Slave; a novel. Translated from the French
[of Gabriel de Bremond 1678] by a Person of Quality.
(12512, aa.i.)
Also in Mod. Nov., vol. ix, and a new translation
(12602, aaa.) in a Sel. Col. Nov., vol. iv., 1728.
In 1677, for the same publishers was advertised in
Hillary Term the French version: "L'heureuse Es-
clave combining the loves of Laura and dedie d,
Ossory."
252. The History of the Golden Eagle by Philaquila (12613,0.11.)
A fairy story in chap-book form.
253. The Lives of Sundry notorious Villains. . . Together with
a novel as it really happened at Roan in France.
Advertised in Michaelmas term for Sam. Crouch.
254. A Narrative of the Adventures of L. Marott, pilot royall of
the galleys of France; giving an account of his slavery
under the Turks, his escapes out of it and other strange
occurrences that ensued thereafter. Tr. from the
French copy. (1451a)
255. Pharamond; or the History of France. A Famed Romance
in twelve parts. Written by the author of Cassandre
and CUopdtre (La CalprenMe). Translated by J.
Phillips.
1678
256. An Alarmefor Sinners, or the story of Robert Foulkes late
minister of Stanton Lucy. {Lit of R., i. 155.)
257. Almanzor and Almanzaide- A novel written by Sir
189
Philip Sidney {pseud)[?] and found since his death
among his papers.
Advertised Trinity Term by Magnes and Bentley.
This is probably the same as Almanzaide. A Nouvelle,
(12513, a.35.) by Mile, de la Roche Guilhem [Cologne,
1676], a typical Franco-Greek romance with Oriental
setting.
258. The Amorous Convert; being a true relation of what hap-
pened in Holland.
Advertised Michaelmas Term for R. Tonson.
Is this Mrs. Behn's Fair Jilt? See no. 352, 1688.
259. A Collection of Select Discourses out of the most eminent
Wits of France and Italy. . . A Dialogue of Love, Wal-
lensteins' conspiracy by Sarasin, Alcidalis, a Romance
by Mr. Voiture. Freskie's Conspiracy by Signor
Mascardi. (836, c.i.)
260. Diana, Dutchess of Mantua, or the Persecuted Lover. A
Romance, by R. Carleton. (i26ii,c.)
261. The English Princess, or the Dutchess Queen: A relation of
English and French Adventures. A novel tr. from the
French (12614, eee.14.)
The story of Mary Tudor, sister to Henry VIII and
wife of Louis XII of France.
262. Five Love-Letters from a Nun to a Cavalier. Done out of
French into English. By R. L'Estrange.
This was reprinted in 1693. Meanwhile, in 1683,
appeared Seven Portugese Letters; being a second part
to the Five Love-Letters from a Nun to a Cavalier which
was also reprinted in 1693. In 1694 came Five Love-
Letters written by a Cavalier {the Chevalier Del) in
answer to the five love-letters written to him by a Nun
which were reprinted with the original letters in
1 7 1 6. There were six metrical versions of the Letters,
in 1701, 1713, 1716, 1716 and 1718, and 1731.
263. The Heroine Musqueteer; or the female Warrior. A true
history very delightful and full of pleasant Adventures
in the campaignes of 1676-77. Translated out of
French [of Prtehac, Holland, 1677].
190
Advertised in Hillary Term for Magnes, Bentley, and
Tonson.
It was reprinted in 1700. (12511, bb.8.(i).)
264. The Mock-Clelia; being a comical History of French Gal-
lantries and novels in imitation of Don Quixote.
Translated from the French of Perdou [Paris, 1670-
80].
Advertised Hillary Term by J. Curtis.
265. The Obliging Mistress; or The Fashionable gallant; a novel.
By a person of Quality. (635, a.23.(2).)
Another ed., Mod. Nov., vii. (12410, c.)
266. The Pilgrim's Progress from this world to that which is to
come: delivered under the similitude of a dream. By
John Bunyan. (C.25, c.24.)
Other editions as follows:
1679, 1680, 1680, unauthorized second part; 1682,
1682, 1684, 1685, 1688, 1689, 1692, 1695, 27th 1728;
1737, -fol.; 1684, Part H; 1686, 1690, 1693, 1708,
1712, 1723, 1726, 1728, 1732, 1742-3; 1693, a spurious
third part; 1698, Pilgrim's Passage in Poesie, by
Ager Scholoe. 1700, Pilgrim's Progress Done into
Verse by F. Hoffman.
267. A Pleasant Novel; discovering the amours and intrigues
of a Town Gallant, in the delectable Amours of Allophet
and Astrea accompanied by Roderick in several ad-
ventures.
Advertised Easter Term for W. Leach.
268. Triumph of Love over Fortune. A Pleasant Novel. Writ-
ten in French by Gabriel de Bremond, and Englished
by a Person of Quality. [Paris, 1677].
Included in Mod. Nov., vol. iv.
269. The Viceroy of Catalonia . . . made English from the
French of Gabriel de Bremond. By James Morgan.
(12512, aa.(2).)
270. Zayde. A Spanish history, or romance. Originally writ-
ten in French. By Monsieur Segray (and the Count-
ess de La Fayette [Paris, 1670]). Done into English
by P. Porter. In two parts. (012547.1.17.)
In 1690 another ed. "corrected." (12511, aa.20.)
191
In 1720 included in Sel. Col. Nov., vol. i.
In 1729 included in Sel. Col. Nov., vol. i.
1679
271. The Count d'Amboise, nouvelle galante. (613, b.27.)
The first part of this is practically identical with The
Generous Lover, 1689. Mod. Nov., vol. ii.
272. Diana, Duchess of Mantua. By Rowland Carlton.
(12611, c.)
273. Fatal Prudence; or Democrates the Unfortunate Hero.
A novel translated out of the French. (635, d.3(2).)
Also in Mod. Nov., vol. vi.
A short romance.
274. The History of Appian of Alexandria in two parts. The
first Punick, Syrian, Mithridatic, Illyriann, Spanish,
and Hannibalistic Wars. Part second, in five books
the Civil Wars of Rome. Translated by J. Davies.i
(586.1.17.)
275. The Life of the renowned Peter d'Aubusson, grand master
of Rhodes. Translated from the French of D. Bon-
hours. A continuation of the History of Rhodes
under the government of Philip de Villiere. (613,
b. 27.)
Advertised in Michaelmas Term, 1678, as The Life of
the renowned Pierre d'Aubusson, Grand Master of
Rhodes. . . . Sieges of Mahomet and Solyman.
276. Wife for a Husband and a Husband for a Wife; or, a Popish
priest turned match-maker between a knight and a
gentlewoman of pretended great fortune . . . with
news from Prester-John' s country. (T.88(25).)
16802
277. Amours of Madame and the Count de Guiche. Translated
by a Person of Quality from the French. (1080,
b.24.)
' Davies translated many quasi-fictitious pieces, as for example, Olearius's
Travels, 1662, Life and Philosophy of Epictetus, 1670, Henry the Great, cf France,
1672 etc. See "John Davies of Kidwelly" by Sidney Lee in D.N.B.
' Presumably to this year belongs Mrs. Behn's translation, Lycidas. See
Ante, p. 77.
192
278. The Count of Gabalis; or. The Extravagant Mysteries of
the Cabalists exposed in Jive pleasant discourses on
the secret sciences. Done into English (from the
French of Abb6 de Montfaucon de Villars) by P.
A[yres], Gent, with short animadversions. (19, e.19.)
Included in Mod. Nov., vol. ii.
And in Sel. Col. Nov., vol. v, 1722.
279. The History of the most renowned Queen Elizabeth and
her great favorite the Earl of Essex. A romance in
two parts. (G. 1515.) See 126, 1650.
280. Hattige, or the Amours of the King of Tamaran [that is
of Charles II of England with the Dutchess of Cleve-
land]. A novel [by G. de Bremond, 1676]. Trans-
lated from the French by B. B. (125 10, aaa.)
It was included in Mod. Nov., vol. i, and in 1720, it was
reprinted as The Beautiful Turk.
281. The Life and Death of Mr. Badman presented to the World
in a familiar Dialogue between Mr. Wiseman and
Mr. Attentive. (4415b.)
There were reprints in 1696, 1734, etc.
282. The Novels of Elizabeth . . . containing the history of
Anne Bullen. Rendered into English by S. H[ick-
man] from the French [of the Countess d'Aulnoy,
Paris, 1674]. (G. 1516.)
Short stories supposed to be told by the Duke of North-
umberland at Elizabeth's command, in which the
ruin of Anne is attributed to the machinations of a
Mistress Blount.
In 1 68 1, appeared Pt. II, containing the history ofBassa
Solyman and the Princess Eronima. The last part.
Englished by S. Hickman [from the original French
of the Countess d'Aulnoy, 1680]. (12604, bbb.14.)
Reprinted in 1700?, 1725, 1730 with a "second part,"
and in 1740?.
283. The Pilgrim: a pleasant piece of gallantry: written in
French by G. de Bremond [1675]?. Translated by
Peter Belon. (1208, e.I.)
Reprinted in 1700 with part II. (12511, bb.8(3).)
193
284. The Princess of Montferrat. A Novel. Translated from
the Ffench.
Contained in Mod. Nov., vol. x.
285. Royal Loves; or, the Unhappy Prince. A Novel. Written
in French by a Person of Quality. Now rendered into
English. (12510, aaaa.S.)
A typical romance of crossed loves in the "Chinese
box" method. The heroine is Asteria, daughter of
Bajazet, and the hero Adanaxus, son to Tamberlaine,
so that this may be a reprint or variation of "Asteria
and Tamerlaine."
Cf. no. 246, 1677.
286. The Vain Prodigal Life and Tragical Penitent Death of
Th. Hellier the murderer executed in Virginia, in 1678.
(Huth.)
1681
287. The Extravagant Poet. A Comical Novel. Translated
out of the French. In Mod. Nov., vol. viii.
This is really a satirical "character."
288. Gallant Memoirs: or the Adventures of a Person of Quality.
Translated from the French of G. Bremond [Paris,
1680], by P. Belon. Mod. Nov., vol. ix.
289. Homais, Queen of Tunis. A Novel. Translated from
the French of Bremond? [Amsterdam, 1681] by
Sebastian Grenadine. Mod. Nov., vol. i.
290. The Life of Francis of Lorrain, Duke of Guise. Trans-
lated from the French. {Mod. Nov., vol. vi.)
291. The Most Delectable History of Reynard the Fox. Newly
corrected and purged from all grossness in Phrase and
Matter. (Malone.)
Pt. Ill, or Reynardine, a compilation by Brewster,
was added in 1684. Pt. I, the original Flemish ver-
sion of Reinike de Vos, appeared in 1479, was trans-
lated and printed by Caxton in 148 1 and continually
reprinted. In 1681 appeared the English additions,
presumably by Edward Brewster. Reprinted in 1 701 .
292. Strangements; news from the land of Chivalry. (Sh.12612,
i.)
A satire on Sir Roger L'Estrange.
14
194
293- A. True Relation of a Strange Apparition which appeared
to Lady Grey commanding her to deliver a message
to . . . the Duke of Monmouth. (105, 6.59(2).)
A Reply, The Lady Grey Vindicated appeared very
soon thereafter. (816, in.2(i8).)
These are news-sheets.
294. The Unequal Match; or, the life of Mary of Anjou . . .
an historical Novel. Translated from the French
of Jean de La Chappelle by F. S., i. e., Ferrand
Spence, 2 pts., and bound with Mod. Nov., vol. xii.
(12612, de.8.)
1682.
295. Altizira, Princess of Fess; or the amours of the court of
Morocco. A novel. Translated from the French of
G. de Bremond by P. Belon (12512, b.). Bound with
Mod. Nov., vol. vii.
296. The Emperour and the Empire Betrayed. Mod. Nov.,
vol. xii. More of a political essay than a narrative.
297. Meroveus, (son of Chilperic I of France) a Prince of the
Blood-royal of France. A novel. Translated from
the French by F. S., i. e., Ferrand Spence. (12510,
aa.7.) Bound with Mod. Nov., vol. ii.
298. A New Version of theLady Gr — 5 (i. e., of Mary, Lady Grey
of Werke] concerning her sister, the lady Berkeley.
In a letter to Madame Fan . (1892, d.78.)
a. Post no. 394, 1693; no. 584, 1728, and no. 627, 1734.
299. The Novels of G{iovanni) F{rancesc6) Loredano {younger)
. . . Translated into English. [Nine novels.] (1073,
a.40.)
300. The Perplexed Prince, by S. T. (292, a.34.)
A chapbook in which the old king and the peasant
device is used to urge the cause of the Duke of Mon-
mouth.
The presumption is that the work was written before
1682.
1683
301. An Account of the Secret Services of M. de Vernay . . . to
Count Teckeley, as they passed by the way of Letters,
etc. Translated out of the French. (1058.3.18(2).)
195
This may not be fiction, see under 1686 and 1693.
302. The Countess of Salisbury. . . . An Historical Novel.
Translated by Ferrand Spence from the French of
d'Argenia. (837, a.3, and Mod. Nov., vol. iii.)
This is an elaborated version of the story in Painter.
303. The Crafty Lady; or, the Rival of Himself. A Gallant
Intrigue. Translated "out of French into English
with an epistle dedicatory," signed F.C.Ph. (12511,
aaaa.42.)
304. Don Sebastian, King of Portugal. Translated by Ferrand
Spence. {Mod. Nov., vol. v.)
Cf. no. 4, 1601.
305. The Dutch Rogue; or Guzman of Amsterdam, traced from
the cradle to the gallows; being the life and fall of D. de
Libechea, a decayed merchant.
Advertised in Trinity Term by S. Smith.
306. Eromena; or the Noble Stranger. (i25ii,e.20.(2).)
A prose version of Chamberlayne's Pharonnida.
307. The Essex Champion; or the Famous History of Sir Billy
ofBillercay and his squire Ricardo. {Lit. of R.,\.i 12.)
308. The Fortunate, the Deceived, and the Unfortunate Lovers.
Three excellent new novels, containing many delightful
Histories. Printed in English and French, written by
the Wits of both nations.
Advertised in T. C. in May. Cf. no. 632, 1735.
309. The History of the Bucaniers, translated from the Dutch
by Alexander Oliver Exquemelin, De Americaensche
Zee-Roovers. Amsterdam, 1678. {Lit. of R., i. 178.)
310. The Neapolitan; or the defender of his mistress. Done
out of French [1682] by Mr. Ferrand Spence.
Advertised in June by Bentley and Magnes.
311. The Perplex' d Princess, or the famous novel of Donna
{Maria de) Zagas. Written originally in Spanish.
Advertised in July by T. Malthus.
312. The Travels of True Godliness from the beginning of the
world to the present day; ill an apt and pleasant allegory.
By Benjamin Keach. (4415, c.)
Reprinted in 1684 with "T. G.'s Voyage to Sea," and
in 1700, '08, '18, '26, '33.
196
313- The Unsatisfied Lovers. A new English novel.
Advertised in November for J. Partridge.
1684
314. The Adventures of the Little Black Lady. By Aphra
Behn.
No edition of this year is extant but Professor Siegel
assigns this date.
315. The Amours of Bonne Sforza, Queen of Polonia. Trans-
lated from the French by P(eter) B(elon). In Mod.
Nov., vol. viii.
316. The A morous A.: or Love in a Nunnery. A novel. Trans-
lated from the French by a woman of quality. Bound
with Mod. Nov., vol. v.
317. The Chaste Seraglian; or Yolanda of Sicily. Translated
by "T. H., Gent" from the French of Prechac,
1678.
Advertised in Michaelmas Term for T. Malthus.
Included with a second part, printed in 1685, in Mod-
Nov., vol. vi.
318. Dialogues of the Dead, etc. Mod. Nov., vol. xii.
319. The Famous Romance of Tarsis and Zelie; digested into ten
books. Written originally by an acute pen of a person
of honour. Done into English by Charles Williams,
Gent.
Advertised in November for N. Ponder.
320. The Great Alcander.
Advertised in Michaelmas Term.
Probably a reprint of the translation of Les Amours
de Henri IV ou du grand Alcandre. See no. 181,
1661.
321. The Life and Death of Mother Shipton strangely preserved
among other writings belonging to an old monastery in
Yorkshire and now published for the information of
posterity. By R. H., i. e., Richard Head. (8631,
aaa. 12.)
322. Love Victorious over Fortune. Bound with Mod. Nov.
vol. iv.
323. The Progress of Sin, or the Travels of Ungodliness . . .
197
in an apt and pleasant allegory; together with the . . .
manner of his apprehension . . . tryal . . . and exe-
cution. By Thomas Keach, Author of War with the
Devil. (4415, c.)
Reprinted in 1700 with additions, and in 1707, 1724,
1727 etc.
324. The Travels of Don Francesco de Quevedo Through Terra
Australis Incognita; discovering the laws, customs,
manners, and fashions of the South Indians. A novel
originally in Spanish.
A very poor Quixotic romance. (Begley.)
325. The Triumph of Friendship and the Force of Love. Two
new novels from the French.
Advertised in November for J. Brown & J. Walthoe.
1685
326. The Academy of Complements: or, a new way of wooing.
Wherein is a variety of love-letters, very fit to he read
of all young men and maids that desire to learn the true
way of complements. (12314, aa.17.)
It appeared again in slightly varying forms in 1705,
1713. 1715-
327. The Court of the King of Bantam. By Aphra Behn.
This date is only approximate.
328. Don Henerigues de Castro, or the Conquest of the Indies.
A Spanish Novel. Translated by a Person of Honour.
In Mod. Nov., vol. i.
329. The Familiar Epistles of Col. Henry Martin found in his
Mis,ses Cabinet. (Cat. no. 44 issued by Ellis and
White.)
330. The Gallants; or the Reciprocal Confidents. A Novel.
Translated by a Person of Quality. (12512, ccc.i6.)
198
16861
331- Agratis, Queen of Sparta; or the Civil Wars of the Lace-
demonians, in the Reigns of Kings Agis and, Leonidase
In two Parts. Translated out of the French [of
Pierre d' Hortigues, Paris, 1685].
Advertised in February by Bentley and Magnes.
332. Amours of Count Teckeli, and the Lady Aurora Veronica de
Serini. Containing his First Inducements to make
War with the Emperor, and to Enter into the Turkish
A rmy against the Christians. Translated out of French
[1685]. (12511.de.24.)
See ante no. 301, 1683 and post no. 396, 1695.
333. The Character of Love guided by Inclination, instanced in
two true histories translated out of French. In Mod.
Nov., vol. iv.
334. Delightful Novels exemplified in eight choice . . . Histories
lately related by the most refined wits, with interludes.
. ... In which are comprised the ... adventures
. . . of several English gentry. . . . Fourth Impression
enl. with the addition of two new novels. (1081, d.6.)
335. A Dialogue between Francesco and Aurelia, two unfortu-
nate orphans of the City of London. In Delightful
Novels.
336. Love's Poesie: or, a collection of seven and twenty love-
letters, both in verse and prose; that lately passed
betwixt a gentleman and a very young lady in France,
(10910, aa.22.)
Cf. no. 393, 1693.
337. Nugae Venales: or, a complaisant companion; being new
jests . . . The third edition corrected, with many new
additions. By Richard Head. (i23i5.a.34.)
338. The Secret History of the House of Medici. Written origi-
nally by that famed historian, the Sieur Varillas.
Made English by Ferrand Spence.
' I am told by Professor Trent, to whom the remaining footnotes to this
appendix are due that this was advertised in L'Estrange's Observator for Jan.
16, 1685-6 and that the advertisement bears the date 1686. We read in the
same journal under the date Oct. 13, 1686. "Advertisement La Montre: Or
the Lovers Watch, By Mrs. A. Behn, Printed for W. Canning, at his Shop in
Vine-Court, Middle-Temple, 1686."
199
Advertised in February by Bentley and Magnes,
1687
339. Cynthia: with the tragical account of the unfortunate loves
of Almerin and Desdemona. A novel . . . Done by
an English Hand. (Bodleian.)
An American reprint appeared in 1798.
340. The Gallant Hermaphrodite. An amorous novel translated
from the French of Sieur Chavigny.
Advertised in November by Manship.
341- The History of Nicerotis; a pleasant Novel. (116, 11,3.7.)
Another edition, has the title "The Fragments of a
History, etc" (123330, aaa.6.(4).)
This is a very complicated and highly indecorous tale
involving many earlier novelle.
342. The History of the Nine Worthies of the World. R.
B(urton, pseud. Nathaniel Crouch). (10603, a.)
Reprinted in 1703.
343. An Hue and Cry after Conscience. (Brown's Life of
Bunyan.)
This is a burlesque.
344. Letters writ by a Turkish Spy, who lived five and forty
years at Paris; giving an Account . . . of the most
remarkable transactions of Europe . . . from 1637 ^o
1682. Translated by W. Bradshaw and others from
the French of Marana. See ante, p. 66.
26 editions by 1770.
345. The Martyrdom of Theodora and Didymous. By a Person
of Honour. (Hon. Robert Boyle.) (861, g.4.)
346. The New Disorders of Love. A gallant novel. Written^
by Richard Gibbs, of Norwich, Phi. Med.
Advertised in February by Bentley and Magnes.
347. Ottoman Gallantries, or the Life of the Bassa of Buda.
Done out of French. In Mod. Nov., vol. vi, as Ibrahim,
Bassa of Buda. From the French of Zesien de Fur-
stenair, 1645.
'The advertisement in the Observator Mar. 2, 1686-7 shows that this novel
really belongs to 1687. It is advertised immediately below "Ottoman Gallan-
tries, or the Life of the Bassa of Buda. Done out of French."
200
348. The Spanish Decameron; or ten novels viz. The Rival
Ladies, The Mistakes, The Generous Lover, The Liber-
tine, The Virgin Captive, The Perfidious Mistress, The
Metamorphosed Love, The Impostor Outwitted, the
Amorous Miser, the Pretended Alchemist. Made
English by R. L. (Bodleian.)
Advertised in May by S. Neale.
1688
349. The Art of Making Love in Mod. Nov., vol. vi.
350. Clitie; a novel. By Richard Blackborn, Gent.
Advertised in February by Bentley and Magnes.
351. The Count de Soissons: a gallant novel (by Isaac Claude).
Translated out of French. In Mod. Nov., vol. x.
In 1731 appeared a second edition. (1081, d.25.)
352. The Disorders of Bassett, a novel. Done out of French.
(12510.)
353. The Fair Jilt. By Aphra Behn.
Again, this date is only approximate. See no. 258, 1678-
354. The Fatall Beauty of Agnes de Castro. Taken out of the
History of Portugal. Translated by "P. B. Gent."
from the French. Mod. Nov., vol. v.
This version is practically the same as the one included
among Mrs. Behn's novels and Prof. Siegel assigns
her translation to this year.
355. The History of the Loves of Lysander and Sabina, a novel.
(635, a.42.) The dedication is signed T. S.
356. The History of the Royal Slave; or Oroonoko. By Aphra
Behn.
357. The Life of St. Francis Xavier of the Society of Jesuits,
Apostle to the Indians. Translated by Mr. Dry den.
[from the French of D. Bouhour]. (862, f.8.)
358. The Princess of Cleves . . . written by the greatest wits of
France [Marie Madeleine Motier, Countess de la
, Fayette, 1678]. (i25i2.ee.6.)
In 1722 there was a different translation in Sel. Col.
Nov., vol. 2, and in 1729, a second edition of above.
359. Simplicissimus. Translated from the German of Grim-
melhausen.
Advertised in February for Baldwin.
201
360. Three novels in one, viz.: The Constant Lovers, Fruits of
Jealousy, Wit in a Woman with Sempronia or the
Unfortunate Mother. By R. Blackbourn, Gent.
Advertised in May for G. Grafton.
1689
361. Amours of Messalina, late Queen of Albion. In four
parts. Translated from the French. (635, 3.4.(1).)
Reprinted with an additional fifth part in 1690 as The
Royal Wanton.
362. Amours of the Sultana of Barhary . . . (i. e., L. R. de
Penancoet, de K6roualle, Duchess of Portsmouth).
A novel, in 2 pts. (G. 13992.)
Reprinted in 1690 as The Secret History of the Dutchess,
etc. (836, b.6.)
363. The Count of Amhoise; or the Generous Lover. A novel
written originally in French by Madam . . . [Cath-
erine Bernard]. Pt. I.
Included in Mod. Nov., vol. xi. Cf. no. 271, 1679.
364. The Court Secret; a novel. (Mod. Nov. vol. vi.)
365. The Governour of Cyprus or the Loves of Virotto and Dor-
othea. A novel.
Advertised in November for J. Knapton.
366. The History of the Nun; or the Fair Vow Breaker. By
Aphra Behn.
Reprinted in her collected works as The Perjured
Beauty.
367. Intrigues of Love; or Amours and Gallantries of the French
court during the reign of the amorous and warlike
Prince Henry IV.
Newly translated from the French by Sir Edwin
Sadlier. See ante, no. 181, 1661, and no. 320, 1684.
Advertised in May for B. Crayle.
368. Love Letters between Polydorus and Messalina (Gay).
369. The Lucky Mistake. By Mrs. Behn. In Mod. Nov.,
vol. i.
'370. Peppa: or, the Reward of Constant Love. A novel. Done
out of French. With several songs set to music for
two voices. By a young gentlewoman. A. C. [Lady
Cokaine?]. (Bodleian).
202
A typical romance of the Franco-Greek variety.
371. The Rival Princesses or the Colchian Court. A novel.
In Mod. Nov., vol. x.
372. The Wanton Fryer, or the Irish amour. A new novel.
Advertised in May for Bentley and Magnes.
1690
373. Amours of Philaris and Olinda. Dedication signed S.L.
2 pts. (80828, bb.i6).
Advertised in May, but the B. M. edition is of 1730,
374. The Cabinet Open'd; or the Secret History of the Amours
of Madam de Maintenon with the French King. Mod.
Nov. vol. xi.
375. Gallantry Unmasked; or women in their proper colours.
A Novel.
Advertised in November by Bentley.
376. The Great Scanderbeg, a novel [by M. Chevreau] done out
of French. Mod. Nov., vol. xi.
This tale is probably founded on a Latin biography.
Scanderbeg. Barletius (Marinus) de Vita, Moribus
ac Rebus praecipue adversus Turcas gestis Georgii
Castrioti, clarissimi Epirotarum principis . . . libri
tredecim, 1537. (Quaritch.)
377. The History of the Marechalless de la Ferti Senneterre.
In Mod. Nov., vol. viii.
378. The Irish Rogue; or the comical history of the Life and
actions of T{eague) 0'D(ivelley) from his birth to this
present year, i6go. (With a preface by J. S..
(i079.b.5)
379. The Revived Fugitive; a gallant Historical Novel. In
Mod. Nov., vol. vii.i
1691
380. Casimer, King of Poland. Translated by Ferrand
'In 1690 appeared the first edition of B. Star's translation of "The History
of Madamoiselle de St. Phale," a popular account of the conversion to protest-
antism of a French lady and her daughter and of the defeat of a wily Jesuit.
Still more suggestive of fiction is "The French Convert" of A. D'Auborn, of
uncertain date, but about this period. Both these books have been erroneously
attributed to Defoe. An edition of the second was printed at Haverhill,
Mass., in 1794.
203
Spence from the French. Included in Mod. Nov.,
vol. ii.
381. The French King proved a Bastard: or, the Amours of
Anne {Queen to Louis XIII) with the Chevalier de
Roan.
A second edition was issued in 1692. (901, a.21.)
382. The Secret History of the Duke of Alangon and Queen
Elizabeth. Included in Mod. Nov., vol. i.
1692
383. The Female Gallant; or the Wife the cuckold. A novel.
Advertised in May by S. Briscoe.
384. The Illustrious Persian Maid: or Amours of a German
Prince.
Advertised in Mod. Nov. for Gil. Cowerly.
385. Incognita: or Love and Duty ReconciVd. By Cleophil,
i. e., William Congreve. (Bodleian.)
386. Memoirs of the Court of Spain. In two Parts.
Written by an Ingenious French Lady. [Countess
d'Aulnoy.] Translated by T. Brown.
387. Modern Novels in 12 vol.
See Collections.
388. Murder Will out, an Impartial Narrative of the . . . Life
of Capt. Harrison who was . . . convicted . . . for
the Murder of Doctor Clench. (10826, i.15.)
389. A New Discourse of Terra Incognita Australis, or the
Southern World. By Jacques Sadeur, a Frenchman
"who being wrecked lived thirty-five years in that
country."
Advertised by Dunton.
390. The Notorious Impostor. Issued in two parts. Reprinted
in 1694. {Lit. of R., p. 152.)
It celebrates after the manner of the Spanish rogue
romances the villanies of William Morrell.
391. The Rival Mother; a late true history digested into a Novel.
(1076.1.2(33).)
392. Taxila or Love preferred above Duty. A Novel. By
W. D., Gent. (12614.CCC.7.)
204
1 693
393. Letters of Love and Gallantry and several other subjects.
With the Adventures of a Young Lady, written by
Herself in several Letters to a Gentleman in the Country.
All written by Ladies. Translated from the French.
Volume II appeared in 1694. See no. 336, 1686.
.394. Love Letters between a Nobleman and his Sister [adopted
sister] viz., F. — rd Lord G — y of Werke and the Lady
Henrietta Berkeley, under the Borrowed Names of
Philander and Silvia.
The compilers of the Bodleian Catalogue attribute this
series of fifty-two letters to Mrs. Behn. Cf . no. 298,
1682; no. 584, 1728, and no. 627, 1734.
395. Memoirs of the Life of Emeric, Count of Teckely, from the
French of Lecluc. (G. 14952.)
See Ante, no. 301, 1683, and no. 332, 1686.
396. The Players Tragedy; or Fatal Love. A New Novel.
(Bodleian.)
397. The Travels of Love and Jealousy. A Novel. By H. C.i
Gent.
Advertised by Bentley in November.
398. Virtue Rewarded; or the Irish Princess. A New Novel.
By an English Hand. (Bodleian.)
Also included in Mod. Nov., vol. xii.
1694
399. Adventures of the Helvetian Hero: or Amours of Armadorous
and Vincentia, Countess of Albania. A Novel.
Signed A. (12612, de.)
400. Five Love-Letters written by a Cavalier in answer to the five
love-letters written to him by a nun M{arianna)
A{lcoforado). Translated from the Portuguese
[French]. (1085, b.2o(2).)
401 . The Unfortunate Court Favorities of England; — Galveston,
Spencer, Roger Mortimer, Stafford, Jane Shore, Wool-
sey, Cromwell, Essex, Bucks, Strafford — with their
amours.
Advertised in November by N. Crouch.
402. The Unhappy Lovers: or, the Timorous Fair One. A
205
novel. Being the loves of Alexander and Mellecinda.
In a Letter. (12611, d. 6.)
1696
403. Histories and Novels. By Mrs. Aphra Behn, together
with her Life and Memoirs. (Bodleian).
Another edition with an account of Mrs. Behn "by
one of the Fair Sex" was printed in 1705. There
were other editions in 1718 and 1722, the latter
advertised as "the seventh."
404. Letters, to which is added a letter from a supposed nun in
Portugal to a gentleman in France, in imitation of
the Nun's Jive letters in print, by Col. Pack. By
Mrs. de la Riviere Manley. (1086, b.7.)
Republished in 1725 as the Stage-Coach Journey.
405. The Revengeful Mistress; being an amorous adventure of an
Englishman in Spain. (12612, e.)
r697
406. The History of the Amours of the Marshal de Boufflers,
or a true Account of his Amours and Gallant Adven-
tures. (Gay.)
1698
407. Abra-mulie, or the Secret History of the Dethronement of
Mahomet the fourth. Written in French by Mr. Le
Noble de Tenneliere. Made English by J. P.
Advertised for Leigh in June.
16991
408. The Adventures of Covent Garden in Imitation of Scarron's
City Romance.
In spite of its announced indebtedness to Scarron it
is more closely modelled upon Furetiere's Roman
Bourgeois.
409. The Adventures of Telemachus, translated by I. Littleton
from the French of the Abb6 Fenelon.
Reprinted in 1728 and 1742.
> The History of Cang-Hy, the present Emperor of China, translated from the
French of J. Bouvet (794.(1.6(1.2)), belongs to the year 1699. This is not
fiction.
206
410. A Collection of Pleasant Novels, comprising the Secret
History of Queen Elizabeth and the Earl of Essex, the
Happy Slave, the Double Cuckold; v. ii. The Heroine
Musqueteer . . . Incognita . . . and The Pilgrim.
Advertised for R. Wellington in June and November.
411. The Complete Mendicant; or Unhappy Beggar. (1414,
C.27.)
Often given to Defoe but probably not by him.
412. The Fables of Pilpay . . , containing many rules for the
Conduct of Human Life. Translated by J. Harris
from the French version of G. Gaulmin and David
Said. (243;, e.8.)
These fables had already been translated in 1570 by
Thomas North, as the Morall Philosophie of Doni
etc.
In 171 1, this version was reissued with the Fables of
Aesop as Aesop Naturalized.
1700
413. Amours of Edward IV. An Historical Novel. By [or
rather incorrectly attributed to] the Author of the
Turkish Spy. (12613, 2.)
414. Amusements Serious and Comical Calculated for the Merid-
ian of London.
Reprinted in the Works of Thomas Brown, ed. J. Drake,
1 707-1 708, and reissued under slightly varying titles
in 1711 and 1715.
415. The Diversions of Mars and Venus, consisting of several
Love Stories as told by little Cupid to divert Venus his
Mother, being chiefly real Intrigues with some modern
Amours of Tunbridge Wells. (Gay.)
416. The English Nun; a comical description of a Nunnery.
By an English Lady.
Advertised in the term Catalogues of May.
417. The French Spy: or the memoirs of Jean Baptiste de La
Fontaine. . . . Translated from the French original.
(10661, bb.33.)
418. A Frolic to Horn Fair. By E. Ward. (T.927, (10).)
419. ^ Full and True Account of the behaviours, confessions
207
last dying speeches of the condemned criminals that
were executed at Tyburn. (515, 1.2.(185).)
420. The Heroine Musgueteer; or, the female warrior, a true
history . . . of pleasant adventures in the campaigns
of 1676 and 1677. (12511, bb.8(i).)
Translated from the French of Pr^chac, Paris, 1677-78.
Cf. no. 410, 1699.
421. The Pilgrim's Progress from Quakerism to Christianity.
Advertised in May by Francis Bugg.
422. The Reformer: exposing the vices of the age in several
characters. By E. Ward. (7222, 58.)
1701
423. The Secret History of Miss Betty Ireland, her amorous life,
adventures, and crimes. (Gay.)
424. The Tyburn Calendar. {Lit. of R., p. 172.)
425. The Unfortunate Lovers: the History of Argalus and Par-
thenia. Quarles's verse version turned into prose.
(Quaritch.)
426. The Whole Comical Works of Monsr. Scarron. Translated
by Thos. Brown.
Reprinted in 1703 and 1727.
1703
427. A Banquet for Gentlemen and Ladies.
See Section of Collections.
428. The London Spy Compleat. By Edward Ward. (12356,
C.14.)
Reprinted in 1704-06-08.
429. The Smoking Age; or the Life and Death of Tobacco,
By Richard Brathwaite. (1079, i.26.(io).)
A coarse satire.
1704
430. The Comical History of the Life and Death of Mumper,
Generalissimo of King Charles IPs Dogs. By Helio-
tropolis, secretary to the Emperor of the Moon.
Advertised in Defoe's Review and in the term Catalogues
for June, but it is doubtful, according to Professor
Trent, whether Defoe wrote it although it has been
attributed to him.
208
431- Dialogues de M. le Baron de La Honian: et d'un Sauvage.
(1052, d.8.)
Reprinted in 1728 as Suite du Voyage de L'Amerigue ou
Dialogues, etc.
432. A Full and True Account of the discovering . . . and taking
of S. Griffith a notorious witch, etc. (sh 512, 1.2-
(I99-)
433. An Historical Account of the Sufferings and Death of the
Faithful. . . . by Isaac Le Fhvre in the French King's
Galleys etc.
Advertised in May for T. Bennet.
1705
434. Cassandra and Others of the Sex.
Advertised in May in the T. C. See Upham p. 397n.
435. The Consolidator, or memoirs of sundry transactions from
the world in the moon. . . . By the author of the
True-born Englishman. D. Defoe. (G. 13507.)
436. The Secret History of Queen Zarah and the Zarazians.
Probably by Mrs. Manley.
There were other editions in 1709 and 171 1 and a
French translation in 1708.
1706
437. A Continuation of the Comical History of the most Ingenuous
Knight, Don Quixote de la Mancha. By the Licenti-
ate Alonzo Fernandes de Avellaneda. Being a third
volume never before printed in English.
Translated by Capt. John Stevens. (Bodleian.)
438. Female Fahehood; being the amorous memoirs of a late
French nobleman. Written by himself . . . and di-
gested by [Marguetel de Saint-Denis, seigneur de]
St. Evremont. Second edition with part II. (12510,
d.7.)
439. Miracles of the Age . . . being a full and true relation,
. . . of a young woman that lived ten weeks and two
days in a trance, without eating. Shrewsbury, 1706?
(697, b.46.)
440. Secret Memoirs of Robert Dudley, Earl of Leicester. Written
209
during his life and now published from an old Manu-
script never before printed. 4 vols. (Col. 820. 8.C.68.)
This lively, but not very edifying, account of the Earl is
supposed to be told by an intimate friend to some
younger men who either did not know Leicester or
were only slightly acquainted with him.
44 1 . ^ True A ccount of the A pparition of Mrs. Veal that appeared
the next day after her Death to . . . Mrs. Bargrave etc.
By Daniel Defoe.
1707
442. The Comical Bargain or Trick upon Trick; being a pleasant
and true relation of one Thomas Brocks, a baker's
apprentice near Milk Street, that went for a Hamburg
merchant, and courted an eminent doctor's daughter
near King Street in Bloomsbury. (11631, aaa.)
A broad-side.
443. The Diverting Works of (Marie Catharine LaMothe)
Countess d'Aulnoy.
Memoirs of her own life. (12236, bb.)
All her Spanish novels and histories, i. e.. Marquis of
Lemos and Dona Eleonora of Montelon, Dona
Eugena of St. Angelo, Marquis of Leyva, Dona
Camella D'Arellano, Hortense of Ventmiglia, Marquis
of Mansera and Dona Teresa of Castro.
Her Letters.
Tales of the Fairies.
444. The Novels of Don Quevedo Villegas, Knight of the Order
of St. James, faithfully Englished; whereunto is added
the "Marriage of Belphegor, an Italian novel, trans-
lated from Machiavel. {R. of R.) Cf. 1665 under
La Picara.
Advertised in February by John Startsey.
Includes, The Spanish Libertines, Lives of Justina,
Celestina, and Estevanillo Gonzalez.
445. The Pleasant History of Taffy's Progress to London.
Advertised in March for F. Thorn.
This is probably similar to the doggerel satire the Welch
Traveller by Humphrey Crouch, 1657. See Lit. of R.,
I. 209.
15
210
i7o8
446. An Account of Some Remarkable Passages in the life of a
Private Gentleman, etc. (859, h.26.)
A morbid account of religious experiences erroneously
assigned to Defoe.
Reprinted in 171 1.
447. Almira: or, the History of a French Lady of Distinction
Interspersed with the Histories of the Marquis de
Montalvan and Isabella: Lindamira, or the Belle
Espagnole. (Bodleian.)
448. The French King's Wedding; or, the royal frolick . . .
surprising marriage ceremonies of Madam de Main-
tenon with Lewis XIV? (1076, h.22(2).)
449. Hypolitus, Earl of Douglas. Containing some memoirs
of the Court of Scotland, with the Secret History of
Mack-beth King of Scotland. [Translated from the
French of M. C. de La Mothe, Countess d'Aulnoy]
To which is added the Amours of Count Schlick . . .
and a young lady of Quality. [A translation of
Eurialus and Lucretia by Aeneas Sylvius etc.] 3 pts.
(12510, d.9.)
450. Turkish Tales; consisting of several extraordinary Ad-
ventures . . . now done into English.
Another version, Persian and Turkish Tales Compleat
in 1714. (I25i3.b)
1709
451. The Constant but Unhappy Lovers, (sh.1076, 1.22(33).)
This is bound in a volume with other pamphlets, the
general title page of which advertises Robinson
Crusoe and must obviously, therefore, be as late as
1719. Still the individual pamphlets may be older
and this may well date from 1709.
It is a very brief tale of a girl who died of grief when
she discovered that she had eaten her lover's heart.
452. The Distressed Child in the Wood; or the Cruel Unkle:
being a true relation of one Esq. Solmes . . . who
dying left an only daughter to the care of his own brother
etc. (1076, 1.22(39).)
211
453' The Island of Content; or, a new paradise discovered in a
letter from Dr. Merryman of the same country to Dr.
Dullman of Great Britain. By the authors of the
"Pleasures of a single life." (12316, cc.3o(i).)
454. The King of Pirates, being an account of the famous
Captain Avery, the Mock King of Madagascar. . . .
Written by a Person who made his Escape from thence.
(1204. C.5.)
455- Love in a Passion without Discretion, or, the young mer-
chant's sudden bargain and the cook-maid's happy
fortune. (1076, 1.22(43).)
456. The Love Lottery, or, a Woman the prize. Being a pleasant
new invention. The second edition with large ad-
ditions. (1076. 1.22(33).)
457. The Mall: or, the reigning beauties. Containing the . . .
intrigues of Miss Cloudy and her gouvernante Madam
A. (11631, aaa.)
458. Memoirs of the Life and Adventures of Signor Rozelli . . .
done into English [by D. Defoe?] from the second
edition of the French of the Abbe OHvier [Paris,
1708]. 2 vols. (G.13510, II.)
17 13 appeared a second edition, corrected. 2 vols, with
an appendix. (G.13512.)
There were two continuations in French, one in 1719
and one in 1722, both of which were translated.
There was, in addition, a third continuation in
English, for which no French original has been found,
which is sometimes attributed to Defoe.
459. The Secret Memoirs of . . . Several Persons of Quality
. . . from the New Atalantis. By Mrs. Manley.
(io8i,m.2.)
Reprints in 1720, 1730, etc.
1710
460. A Brief and Merry History of Great Britain, containing
an Account of the religion, customs . . . of the people,
written originally in Arabick by Ali Mohammed Hadji
. . . Faithfully rendered into English by A. Hillier.
There was another edition in 1730. (Conant.)
212
461. ^ Dialogue between Dick Brazenface the Card-maker and
Tim Mean-well the Clothier: being a dispute between
the card-maker and the clothier fairly stated. By
D. Brazenface (pseud.). (816. 111.14.(59).)
462. Look ere you Leap: or a History of the Lives and Intrigues
of lewd Women . . . To which is added the character
of a good woman. Tenth edition. (12331, a.22.)
463. Memoirs of Europe towards the Close of the Eighth Century.
Written by Eginhardus, Secretary and Favorite to
Charlemagne. By Mrs. Manley. (636.d.ii,i2.)
1711
464. An Account of the Life and Death, Parentage and Con-
versation of Mr. J. A. [John Addison], a most notorious
highwayman. (1076, 1.26(6).)
465. Atalantis Major. Printed in Olrecky, the Chief City of
the Northern Part of Atalantis Major. By D. Defoe?
A poUtical prose satire.
466. Court Intrigues; or a collection of original Letters from the
Island of New Atalantis. By the author of these
Memoirs (Mrs. Manley). (636. d.io.)
467. The Description of Epsom, with the humors and politicks
of the place. In a letter to Eudoxia. (By Britto
Batavus [J. Toland]). (1302, f.)
468. The London-Bawd with her Character and Life, dis-
covering the various and subtile intrigues of Lewd
Women. Fourth edition. (Gay.)
469. The Whole Life, character and conversation of that foolish
creature called Granny. (1076, 1.26.(8).)
A coarse journalistic narrative.
1712
470. Arabian Nights Entertainment; consisting of One Thousand
and One Stories told by the Sultaness of the Indies to
divert the Sultan from the Execution of a Bloody
Vow. Translated from the French from the Arabian
MSS. by M. Galland . . . and now done into English
from the Edition in French.
Advertised in 1708, but the oldest known edition is the
second, of 17 12; fourth edition 1713.
213
47i> -4 Companion for the Ladies Closets: or, the life and death
of the most excellent Lady. (4202.aaa.i.)
The B. M. Catalogue has the note "By A. B. {i. e.,
Aphra Behn?"
472. The Highland Visions; or, the Scots new Prophecy, etc.
London? (114, g.36.)*
1713
473. The Lover's Secretary; or. Adventures of Lindamira in
twenty-four letters.
Advertised in May in the T. C. but no edition earlier
than the 2d, 1715 "Revised by T. Brown," is
known. (i26ii.df.25(i).) There was a third edi-
tion in 1734.
17142
474. The Adventures of Rivella; or the history of the Author of
the Atalantis . . . Delivered in a conversation to the
young Chevalier D'Aumont . . . by Sir Charles Love-
more. Done into English from the Fr. (1419, f.23.)
The fourth edition appeared in 1724 as Mrs. Manley's
History of Her Life and Times.
475. Complete History of the Lives and Robberies of the most
notorious Highwaymen. By Alexander Smith. (Lit.
of R., i. 209.)
Fifth edition in 1719 and a new volume in 1720.
476. Love Letters from Henry VIII to Anne Buleyn, with two
from Anne Buleyn to Cardinal Wolsey, and her last to
Henry VIII. (Cat. Old Eng. Lit., Russel Smith,
no. 72.)
477. The Memoirs of Gamesters. By Theophilus Lucas. (Lit.
of R., i. 171.)
'The first tract in this series appeared in April, 1711 under the title "The
British Visions: or, Isaac Bickerstaff's Twelve Prophecies for the Year 1711."
The item given above was the second and appeared in March, 1712. In Feb-
ruary, 1713 the series was continued with "The Second-Sighted Highlander,
etc.," and a skit under this same title appeared in 171S, but no tract for 1714
has yet been found. There is ample evidence, both external and internal, to
show that Defoe was responsible for the entire series.
2 In its number for July 14, 1714 the British Mercury (a fire insurance organ)
began printing as a serial a story entitled The Rover. This disposes of the no-
tion that Robinson Crusoe was the first English serial.
214
478. The Persian and Turkish Tales, compleat, tr. formerly
from those languages into French [or rather compiled]
by M. Petis de la Croix {assisted by A.R. he Sage) and
now translated into English by Dr. King and several
other hands. (12513, b.37.)
Reprinted in 1722 as The Thousand and One Days by
Mr. Phillips.
1715
/^•jg. Amours-ofBosvilandGalesia. A novel. By Mrs. Barker.
Advertised for Curll in Exilius 2d. edition.
Reprinted in Entertaining Novels of Mrs. B., 1736.
480. The Dean of Killerine. Translated from the French of
Prdvost. (Gay.)
Reprinted, 1780.
481. Exilius: or the Banished Roman. A new romance . . .
written after the manner of Telemachus. By Mrs.
Jane Barker of Wilsthorpe. (012611, h.25.)
In 1736, 2d ed. in Entertaining Novels of Mrs. B (625,
c. 45), and in 1743 another ed. of the latter. (12611,
c.)
482. The Family Instructor in Three Parts. I, Relating to
Fathers and Children. II, to Masters and Servants.
Ill, To Husbands and Wives. By Way of a Dialogue.
By Daniel Defoe.
Reprinted in 1715, 1720 the eighth edition, 1766 the
sixteenth.
In 1718, Defoe published the second volume of the
work and in 1727 he issued The New Family Instructor.
483. History of the Wars of his Present Majesty Charles XII.
. . . By a Scots Gentleman in the Swedish Service.
By D. Defoe. A continuation appeared in 1720.
484. Secret History of the Loves of the most Celebrated Beauties,
Ladies of Quality and Jilts from fair Rosamond down
to the present day. By Alexander Smith. {Lit. of
R., i. 176.)
1716
485. The Generous Rivals; or. Love Triumphant. A novel.
486. Secret Memoirs of Bar-le-duc [Court of Prince James
215
Edward Stuart) from the death of Queen Anne].
Dublin, 1716. (12314, aaa.i.)
1717
487. ^ Short Narrative of the Life and Death of John Rheinholdt,
Count Patkul, a Nobleman of Livonia, etc. Faithfully
translated . . . by L. M. The second edition.
Advertised in April for T. Goodwin.^
17182
488. The Christian Pilgrimage . . . of Salignac de la Mothe
Fenelon. Translated by Mrs. Jane Barker.
489. The Double Captive; or Chains upon chains, containing
the amorous poems and letters of a young gentleman,
one of the Preston prisoners in Newgate. To which
is added the execution dream, with a preface to the ladies
and an introductory novel. (1078, 1.31.)
1719
490. The Dumb Philosopher; or Great Britain's Wonder. By
D. Defoe.
491 . Familiar Letters of Love and Gallantry for several occasions
by the wits of the last and the present age, from the
originals, together with T. Brown's remains, being
Letters and Dialogues not printed in his works. 2 vols.
(99, a.20.)
In 1724 appeared the sixth edition, corrected.
492. The Female Deserters. A Novel. By the Author of the
Lover's Week [that is F. Moli^re]. (12330, cc.ii.)
The Lover's Week, Hanover Tales, Milesian Tales, The
Spanish Polecat (cf. ante, 1665 under La Picara), are
all advertised by J . Roberts in the Female Deserters.
493. The History of the Siege of Toulon by Donneau de Vis6.
Done into English by Mr. Boyer. (614, h.2.)
494. The Life and Strange Surprising Adventures of Robinson
Crusoe of York, mariner. By D. Defoe.
1 This tract was given by Lee to Defoe, but it is really by Lord Molesworth.
2 To this year (August) belongs "A Continuation of Letters written by a
Turkish Spy at Paris, etc.," assigned with much plausibiUty by James Crossley
to Defoe.
216
1719. the two parts; 1719 3d ed. of pt. i; 1719, 4th ed.,
with map; 1719, Farther Adventures; 1722, fourth
edition; 1726, fifth edition; 1726, pts i and 2; 1719,
abridged; 1726, abridged; 1730? abridged.
495. Some Account of the Life, and Most Remarkable Actions
of George Henry, Baron de Goertz, Privy-Counsellor
and Chief Minister of State, to the late King of Sweden.
This biographical tract, which seems to be clearly by
Defoe, appeared in July, 1719.
1720
496. The Chronicle of Tyburn. {Lit. of R., i. 178.)
497. The History of the Life and Adventures of Mr. Duncan
Campbell. By D. Defoe. (G. 13537.)
In the same year was issued a corrected edition, and
in 1728 the third edition appeared as The Supernatural
Philosopher with the name of William Bond as the
author. Mrs. Haywood and not Defoe was probably
the author of some of the later Campbell pamphlets,
but the latter probably wrote The Friendly Daemon
of 1726 and he may have had a hand in the Secret
Memoirs of Campbell of 1732.
498. The King of Pirates, being an account of the enterprises of
Captain Avery. In two letters from himself. By
D. Defoe. Really published at the end of 1719, with
a second edition of 1720. (Lee.) (518, f. 29.)
499. The Life, Adventures, and Pyracies of the famous Captain
Singleton, containing an account of his being set ashore
in the island of Madagascar as also of his many ad-
ventures and pyracies with the famous Captain Avery
and others. By D. Defoe. (838. c.8.)
In 1737, the second edition.
500. Love's Academy. Containing many pleasant and delightful
novels. (12614, ee.i6.)
"The Ladies or Gentlemen that are willing to record
adventures in this academy, of their own or others,
are desired to send them forthwith to the Undertaker,
B. Lintott."
501. The Most Lamentable and Deplorable History of the two
217
children in the wood. . . . To which is annexed the
old song upon the same. (12612, d.)
A chapbook.
17201
502. The Perfidious Brethren; or the Religious Triumvirate:
displayed in three Ecclesiastical novels. (Bod. G.
Pamph., 1852.)
503. The Power of Love in Seven Novels, viz., I, The Fair Hypo-
crite; II, the Physician's Stratagem; III, The Wife's
Resentment; IV-V, The Husband's Resentment in
two examples; VI, The Happy Fugitives, VII, The
Perjur'd Beauty, By Mrs. Manley. (636, d.13.)
1721
504. The Fortunes and Misfortunes of the famous Moll Flanders,
etc. By D. Defoe. (G. 13539.)
In 1722, the third edition.
505. The History of Hypatia, a most impudent school-mistress
of Alexandria. (699, d. 14(5).)
Not a novel but a news sheet.
506. Ildegerte, queen of Norway; or, Heroick Love, a novel.
Written originally in French by the author of the
Happy Slave (rather by E. Le Noble de Tenneli^re
Baron de Saint George) and tr. into Eng. by a gentle-
man of Oxford. 2 pts. (12511, f.15.)
In 1721-22, second edition. 2 pts. (12510, e.20.)
The Happy Slave was written by Bremond but there
seems no reason for assigning Ildegerte to him.
507. The Life of Mme. de Beaumont, a French Lady, who lived
in a cave in Wales above fourteen years undiscovered.
. . . Also her Lord's adventures in Muscovy. By
Penelope Aubin. (12613, a.)
508. Love in its Empire, illustrated in Seven Novels. By P.
Chamberlayne. (Bodleian, authority of Gay.)
509. The Secret History of the Prince of the Nazarenes and two
Turks. Third edition. (Bodleian.)
One of the grossest and least interesting of the secret
histories.
'On April 13, 1720 the Daily Post advertized The Life and Strange Surpriz-
ing Adventures of Major Alexander Rankin.
218
510. The Strange Adventures of the Count Vinevil and his family.
Being an account of what happened to them whilst they
resided at Constantinople. By P. Aubin. (12604, bb.)
17221
511. The British Recluse, or the Secret History of Cleomira
suppos'd Dead. By Eliza Haywood. Third edition.
There was a fourth edition printed in Dublin in 1724,
and a fifth in London, in 1725.
512. The Comical Pilgrim; or, the travels of a cynick philosopher
thro' the most wicked parts of the world, namely England,
Wales, etc. Attributed, but in all probability erro-
neously, to D. Defoe. (G. 13540.)
It was first published in November, 1722 and speedily
reached a fourth edition.
513. Due Preparations for the Plague. By D. Defoe.
514. The False Duchess, translated from the French.
In Sel. Col. Nov., vol. vi.
515. The History and Remarkable Life of the truly Honourable
Colonel Jacgue. By D. Defoe.^
Other editions in 1723, 1724, etc.
516. The History of Genghizcan [by Petits de la Croix] . Trans-
lated by Penelope Aubin. (147, a.io.)
517. The History of Leonora Cespedes and Count de Belflor.
Written originally in French. In Sel. Col. Nov., vol.
iii, and also in a Col. of Nov., ed. by Mrs. E. Grif-
fiths, 1777.
518. The Innocent Adultery tr. from the French [of Scarron?],
In Sel. Col. Nov., vol. iv.
519. A Journal of the Plague Year. By Daniel Defoe.
Often reprinted.
520. The Life and Actions of Lewis Dominique Cartouche.
A translation attibuted to D. Defoe, but apparently
with little reason.
'The Flying Post for July 28, 1722 advertized "The Life and Surprizing
Adventures of Don Juliana de Tuzz, who was Educated by a Roe, and lived
Forty Five Years in the Island of Malpa, an Uninhabited Island in the East
Indies. Translated from the Portuguese." This curiosity of literature could
be had from Thomas Warner for one shilling, but it has escaped recent search.
'Some doubt has been thrown on the existence of any copy bearing the
date 1722.
219
521. The Noble Slaves; or the Lives and Adventures of two lords
and two ladies who were ship-wrecked. By Penelope
Aubin. (12511.C.C.)
Another edition was issued in Dublin in 1730? and in
1777 it was included by Mrs. Griffiths in Sel. Col.
of Nov.
522. Religious Courtship. By D. Defoe.
Reprinted in 1729, 1735 4th ed., 1737, 1750, 1762,
1770, 1793-
523. Select Collection of Novels. — See Collections.
524. The Travels and Adventures of three Princes of Sarendip.
Interspersed with eight delightful and entertaining
novels translated from the Persian [or rather the Italian
of Chr. Armento] into French and thence into English.
(Conant.)
1723
525. Comical and Tragical History of the Lives and Adventures
of the most noted Bayliffs. By Alex. Smith. (12314.
f.7.)
Third edition 1783.
526. The Highland Rogue; or the memorable actions of the cele-
brated R. MacGregor, commonly called Rob Roy. D.
Defoe. (10825, c.)
527. The History of John of Bourbon, Prince of Carency.
Containing a variety of entertaining novels, written
in French. Translated into English.
The second edition. (12511, f. 17.)
The novels are ten in number viz.: — ^The Surprize or
the Generous Unknown; The Mutual Mistake or
Unhappy Discovery; The Secret Rival or Deceitful
Friend; The Perfidious Lady or the Fatal Resent-
ment; The Unfortunate Lover; The Female Captives;
The Distressed Lovers; The Revengeful Rival; The
Happy Meeting, or, Constant Love Rewarded.
As the titles indicate these are all stories of the cloak
and sword variety in which the changes are rung on
crossed loves, lovelorn damsels, gentlemen pirates,
kidnappings, the miseries of slavery, amorous Moors,
and the like.
220
528. Idalia; or, The Unfortunate Mistress. A novel. By Mrs.
Haywood. (12614, d.i.)
Reprinted with the addition of a third part in her
collected works and translated into French in 1770.
(Gay.)
529. An Impartial History of the Life and Actions of Peter
Alexowitz, the present Czar of Muscovy, etc. Attrib-
buted to D. Defoe.
530. The Life and adventures of Pedrillo del Campo intermixed
with sever al entertaining and delightful novels. Trans-
lated into English by Ralph Brookes. (12490, aaa.12.)
531. The Lives and Amours of the Empresses, consorts to the
first twelve Caesars of Rome. . . . Translated by G.
James [from the French of Jacques Roergas de Ser-
viez]. (10605, c.io.)
532. Love in Excess, or The Fatal Enquiry; a Novel in Three
Parts. By Eliza Haywood.
There was a sixth edition in 1725.
533. The Loves of Osmin and Doraxa [from Guzman de Al-
farache] with the Novelas of Cervantes.
Advertised in Sel. Col. Nov.
534. The Patchwork Screen for the Ladies; or, Love and Virtue
recommended in a collection of instructive novels.
By Mrs. Jane Barker. (1079, d.13.)
"^ 535- 2"Ae Unhappy Loves of Herod and Mariamne introductory
to Mr. Fenton's new tragedy. (641, e.28.(i).)
1724
536. The Arragonian Queen, a secret history. (Pickering &
Chatto Cat. Pt. M.)
537. Female Grievances Debated. Fourth edition. (8415, b.
15.)
538. The Fortunate Mistress; or a History of the Life of Mile.
de Beleau afterwards call'd the Countess of Wintsel-
sheim. . . . Being the Person known by the name of
Lady Roxana. By D. Defoe. (G. 13737.)
Reissued in 1740 and often thereafter.
Revised by Noble in 1775.
539. The History of the Remarkable Life of John Sheppard.
By D. Defoe.
221
Issued three times in that year. Lee also assigns to
Defoe A Narrative of all the Robberies, Escapes, etc.
of John Sheppard, which went through 7 editions in
November and December, 1724.
540. The Injured Husband, or the Mistaken Resentment. By
Mrs. Haywood. DubHn. (D.N.B.)
541. Lasselia; or, the Self-abandoned. A novel. By Mrs.
Haywood. Second edition. (12613, c.(i).)
542. Letters of a Lady of Quality to a Chevalier. By Eliza
Haywood. {D. N. B.)
543. A New Voyage Round the World, by a course never sailed
before undertaken by some merchants who afterward
proposed the setting up of an East Indian Company
in Flanders. By D. Defoe. 2 pts. (838, c.4.)
544. The Rash Resolve; or, the untimely discovery. A novel.
By Eliza Haywood. Second edition. (12613,0.(2).)
545. The Reformed Coquette. A Novel. By Mrs. Mary Davys.
(12604, aaa.)
Dublin, 1735, a second edition.
1 7251
546. An Account of the Conduct . . . of the late J. Gow alias
Smith, captain of the late pirates executed. . , . By
D. Defoe. (518, 0.4.)
547. The Amorous Bugbears; or. The humours of a masquerade
Intended as a supplement to the London-Spy. (11644,
g.36(i).)
548. Bajazet; or the Imprudent Favorite, in Five Novels trans-
lated from the French of J. Regnauld de Segrais
(Conant.)
549. Bath-Intrigues; in a Collection of Original Letters to a
Friend in London. [Signed J. B. i. e. Mrs. Manley?]
(1080, i.42.)
550. Chinese tales, or the Wonderful Adventures of the Mandarin
Fum-Hoam translated from the French [of T. S.
Guenlette].
iTo this year belongs Mrs. Haywood's translation of La Belle Assemblie;
a curious collection of some remarkable incidents which happened to Persons of
Quality from the French of Mme. de Gomez. (12512. c.) There were other
editions in 1728 and 1736-35.
222
Another translation as Mogul tales, 1736, second edition,
1743. (Conant.)
551. The Fatal Secret. By Eliza Haywood. Third edition.
(D. N. B.)
552. Fantomima, or Love in a Maze. By Eliza Haywood.
{D. N. B.)
553. The Lady's Philosopher's Stone: or, the Caprices of Love
and Destiny. An historical Novel. Written in French
by M. L'Abbe de Costero and now translated into
English. (Pickering and Chatto, Cat. H.)
554. Love upon Tick: or, implicit gallantry exemplified. Third
edition with additions. (1132 c.44.)
555. Mary Stuart, Queen of Scots, being the Secret History of
her Life and the real causes of her misfortunes.
Translated from the French [by Eliza Haywood].
A second edition appeared in 1726. (Col. M1.M366.)
556. The Matchless Rogue, or an account of the contrivances,
cheats, stratagems and amours of T. M. to the hour of
his exit at Newgate. (141 7, e.9.)
557. Memoirs of the Baron de Brosse . . . containing an account
of his Amours. (Gay.)
558. Memoirs of a certain Island adjacent to the Kingdom of
Utopia. By Mrs. Haywood. 2 vols. (12613 g.)
559. Mrs. Manley's History of her Life and Times. See Life
of Rivella, no. 475, 1714.
560. Secret Histories, Novels, and Poems written by Mrs.
Eliza Haywood. Second edition. 4 vols. (12612,
ee.)
This seems to be a reprint of a 1724 edition. There
was also a shorter collection published in 2 vols,
in 1725. The longer edition was reprinted in 1732.
The following tales are included:
Fantomima; or Love in a Maze. Being a Secret
History of an Amour between two Persons of
Condition.
The British Recluse.
Idalia — In three parts.
The Injured Husband, or the Mistaken Resentment.
Lasselia, or the Self-abandoned.
223
The Rash Resolve.
The Fatal Secret: or Constancy in Distress.
561. A Stage-coach Journey to Exeter, describing the humours
of the road, with the characters of the Company. In
eight Letters to a Friend. By Mrs. Manley. [See
no. 405, 1696.]
562. The Surprise. By Mrs. Haywood. (D.N.B.)
563. The Tea Table; or, a Conversation between some persons
of both sexes at a Ladies Visiting Day. By Mrs.
Haywood. (635.f.ii(5).)
564. The True, Genuine and Perfect Account of the Life and
Actions of Jonathan Wild. By D. Defoe.^
Lee gives these editions in June, 1725.
565. The Unequal Conflict; or. Nature triumphant. A Novel.
By Mrs. Eliza Haywood.
Advertised by Crokett in The Whimsical Lovers.
566. The Whimsical Lovers; or, Cupid in disguise. A Novel.
By Mrs. Symmons. (12614, ff.)
17262
567. The Distressed Orphan, or Love in a Mad-house. Written
by Herself. The third edition. (12611, £.(14).)
Reprinted about 1810 as Love in a Madhouse; or the
History of Eliza Hartley, the Distressed Orphan.
'Attention should be called to three books often ascribed to Defoe but
rejected by late bibliographers, to wit, "The Four Years Voyages of Capt.
George Roberts" (1726), "The Military Memoirs of Capt. George Carleton"
(1728), and "Madagascar: or, Robert Drury's Journal" (1729). The second
of these has been assigned by Colonel Arthur Parnell to Dean Swift, but there
is strong internal evidence that connects Defoe, at least in the capacity of
editor, with all three books. Carleton and Drury certainly, and perhaps
Roberts, were real men who may have furnished the materials out of which
Defoe constructed the accounts of their adventures.
2 Attention should be called to the popular and romantic "Voyages and Ad-
ventures of Captain Robert Boyle" of 1726, which has been assigned to Defoe,
but which seems to be clearly by William Rufus Chetwood, for whose other
work in fiction, practically all in the year 1740-41, see the article in D. N. B.
Another story erroneously attributed to Defoe is "The History of AntonoUs.
Containing a Relation how that Young Nobleman was accidentally left alone, in
his Infancy, upon a desolate Island; where he lived nineteen years, remote from
all Humane Society," etc., 1736.
224
568. The Entertaining Novels of Mrs. Jane Barker.
Advertised by Bettesworth as the second edition.
The eariiest known edition is that of 1736 which was
reprinted in 1743.
The collection includes.
Exilius.
Clelia and Marcellus; or the Constant Lovers.
The Reward of Virtue ; or the Adventures of Claren-
thia and Lysander.
The Lucky Escape; or the Fate of Ismenius.
Clodius and Scipiana; or the Beautiful Captive.
Piso; or the Lewd Courtier.
The Happy Recluse ; or, the Charms of Liberty.
The Fair Widow or False Friend.
The Amours of Bosvil and Galesia.
569. The Life and Adventures of the Lady Lucy, daughter to an
Irish Lord. By Mrs. Penelope Aubin. (635a.4.(2).
570. The Lining of the Patch-work Screen. By Mrs. Jane
Barker. (Bodleian.)
571. Memoirs of the Life and Times of the Famous Jonathan
Wilde. By Capt. Alexander Smith. {Lit. of R.,
P- 155-) (615. a.28.)
572. The Mercenary Lover; or, The Unfortunate Heiresses, Being
a true secret history of a City Amour, in a certain island
adjacent to the kingdom of Utopia. Written by the
author of Memoirs of the said Island. (E. Haywood).
"Translated into English." (12611, i.i6.)
In 1728 reprinted with the Padlock third ed. (12316
bbb.38(b).)
573. Travails into Several Remote Nations of the World. By
Lemuel Gulliver first Surgeon and then Captain of sev-
eral Ships. Two vols, in four pts. [By Jonathan
Swift.] (838, C.6.)
There. were two other editions in 1726, as well as
L. G.'s travels, . . . compendiously methodized, with
a key, observations etc. In 1727 this was reprinted
225
and two other editions of the work as well, and it
continued to be reprinted frequently.'
1727
574. The Illustrious French Lovers ; being the true histories of
the amours of several French persons of quality ....
Written originally in French and translated into
English by Mrs. Penelope Aubin. 2 vols. (12511,
bb.i8.)
In 1739, a second edition was published.^
575. The Life of Madame de Villesache. Written by a Lady,
who was an eye-witness of the greatest part of her ad-
ventures, and faithfully translated from her manuscript
[or rather written] by Mrs. E. H[aywood\. (12331.
bbb.42(2).)
576. Philidore and Pacentia. By Mrs. Ha57wood. D. N. B.
577. The Poetical Works of Philip, late duke of Wharton. . . .
Also two interesting novels by the celebrated Mrs. A.
Plantin . . . with a genuine account of the life of that
nobleman (11607, bbb.)
In 1 73 1, reprinted with additions. It contains two
novels by Mrs. Plantin, The Ungrateful and Love led
Astray.
578. The Secret History of the Present Intrigues of the court of
Caramania, By Mrs. Haywood.
',The Daily Journal for Feb. 6, 1731 advertised for the next Wednesday,
two volumes of the "Travels of Mr. John Gulliver, son to Capt. Lemuel Gul-
liver, translated from the French by Mr. Lockman." In 1728 (Nov. 16) the
Country Journal or the Craftsman advertised as lately published "A Trip to the
Moon" by Murdoch McDermot, printed at Dublin and reprinted in London, with
what seems to have been an obscene dedication to Captain Lemuel Gulliver-
This item has been advertised as early as Feb. 22, 1728, cf. the Whitehall Even-
ing Post.
2 An undated edition of Mrs. Aubin'3> works in the Col. Libr. contains:
The Noble Slaves; The Life and Adventures of Lucinda; Conjugal Duly Rewarded
or the Rake Reformed; Life and Amorous Adventures of Lucinda; Fortune favors
the Bold; Count de Vinevil; Lady Lucy; Life and Adventures of young Coun.
Albertus. . . . Son of Count L. A. by Lady Lucy; Life of Charlotte du Pont,
Madanie de Beaumont. Five of these, ii, 3, 4, s. 6, I have not found else-
where.
16
226
1728
579- T^^ Disguised Prince; or the beautiful Parisian. A true
history tr. from the French (or rather written by E.
Haywood). (12511, h.5.).
580. Female Excellency; or, the Ladies Glory. Illustrated in
the worthy lives and memorable actions of . . .
Deborah, the valiant Judith, Queen Esther, . . .
Susanna . . . Lucretia, Vodicia, Mariamme . . . Clo-
tilda Andegona. By Richard Burton {i. e., Nathaniel
Crouch). Third edition. (10604, ^■)
581. Friendship in Death in twenty Letters from the Dead to the
Living. By Mrs. Elizabeth Rowe.^ (C0I.824.R79.
L.)
582. The History of King Appius. . . . By a gentleman who
served in the Persian armies. (P. F. Godart de Beau-
champ.) Translated from the French.
London and Dublin. (12330 aaa.13.)
A story with disguised personages to which a key was
published in 1764.
583. The Illegal Lovers; a true secret history. Being an amour
between a person of condition and his sister. Written
by one who did reside in the family. (1079, 1.12(1).)
The sister turns out to be an unfortunate orphan
adopted by the hero's family. The story is the same
as that in the Letters. See nos. 298, 1682; 394,
1693; 627, 1734.
584. The Irish Artifice; or the History of Clarinda, a novel.
By Mrs. Haywood. In the Female Duncaid.
_ (F.857(2).)
585. Life and Amours of the Count de Tourenne. (Gay.)
586. Psyche.
587. The Royal Shepherdess.
588. Tarsus and Zelie.
589. Xenophon's Ephesian History, or Love Adventures, of
Abrocomas and Anthia in five books.
All advertised by J. Love in the 1728 edition of the
Mercenary Lover.
'Advertised in the Whitehall Evening Post for Jan. 16, 1727-8.
227
1729
590. Adventures of Abdalla, Son of Hanif, sent by the Sultan of
the Indies to make a Discovery of the Island of Borico
. . . translated into French from an Arabick manu-
script . . . by Mr. de Sandisson . . . done into
English by William Hatchett.
A second edition was issued in 1730.
591. The Fair Hebrew, or a True but Secret History of Two
Jewish Ladies who lately resided in London. By
Mrs. Haywood.
Gay further states that this story was reprinted in the
Reader, 1880.
A story with a somewhat similar title, La Belle Juive,
was included in a collection of current novels called
Histoires tragigues et Galantes published at Paris, 1731.
592. Letters, Moral and Entertaining in Prose and Verse.
Part I. By Mrs. Elizabeth Rowe. Part II was
added in 1731 and Part III in 1733.
593. The Life of the Countess de Gondez tr. by Penelope Aubin.
(12511, aaaa.17.)
594. The Life and Intrigues of the late celebrated Mrs. Mary
Parrimore, &c.
595. Persecuted Virtue, or the Cruel Lover. By Mrs. Eliza
Haywood. {D. N. B. 1730.)
1730
596. The Amours of Philaris and Olinda (dedication signed
S. L.). (8028 bbb.i6.)
A belated and vulgar Arcadian romance.
597. The Brother; or. Treachery punished. Interspersed with
the Adventures of Don Alvare, . , . Don Lorenzo,
Cupid and Bacchus, a dramatic entertainment, and the
adventures of Mariana, sister to Don Alvarez. Written
by a Person of Quality. (1459, b.30.)
A series of cloak and sword novels.
598. Love-Letters on all occasions lately passed between persons
of distinction. By Mrs. Haywood. (1016 f. 8.)
599. The Northern Worthies; or the Uves of Peter the Great,
father of his country . . . and of Catherine the late
228
Czarina. By Fontenelle tr. by J. Price. 2 pts.
second edition. (6ii, a.io.)
600. Persian Anecdotes; or Secret Memoirs of the Court of
Persia. Written originally in French . . . by the
celebrated Madame de Gomez. Translated by Paul
Chamberlain. (Conant.)
601. Persian Letters by C. de Secondat, Baron de Montesquieu
translated by Mr. Ozell.
There was a third edition in 1731 and a sixth in Edin-
burgh in 1773.
602. The Ramble; or a View of several amorous and diverting
intrigues . . . between some ladies of Drury Lane and
two certain Rakes. (i079.ii26(3).)
Chandler, Lit. ofR., i. 150, assigns this to G. Fidge, 1651.
603. The Voyages of Cyrus. Translated from the French of
of Chevalier Ramsay. [Paris, 1727.] (Dunlop.)
1731
604. The Amours of the Count de Soissons . . . in a . . .
relation of the gallantries of persons of distinction . . .
during the ministry of Cardinal Richelieu . . . Trans-
lated from the French . . . by J. Seguin. The second
edition. (1801, d.25.)
Cf. Modern Novels, 1692.
605. The Constant Lovers; being an entertaining history of the
amours and adventures of Solenus and Perrigonia,
Alexis and Sylvia. By John Littleton Costeker.
(12613,3.)
606. The History of Executions. Edition by Applebee.
Reprinted in 1732 with the addition of The Lives of
the most remarkable criminals. {Lit. of R., i. 178.)
Other editions in 1728, 1736-35.
607. The Life of Mahomet. Translated from the French
(10605, b.)
Reprinted in 1752.
608. Love d la Mode; or the amours of Florella and Phillis;
being the memoir of two celebrated ladies under those
names. (12614 g.)
609. The Memoirs of Miss Cadier' and her Father. (Gay.)
229
6io. Milk for Babes, Meat for Strong Men. . . . Being a
Comical, Sarcastical . . . Account of a late election
in Bagdad, for Caitiff of that City. By . . . Alexan-
der the Copper Smith. Second edition. (Conant.)
6ii. The Progress of a Rake; showing the various Intrigues he
met with. (12330 000.34(6).)
612. The Scarborough Miscellany. An original collection of
poems, odes, tales. None of which ever appeared in
print before. By several hands. (12330, k.i2(3).) "
In 1734 a second edition appeared.
613. Two Journals; the first kept by seven sailors in the island
of St. Maurice in Greenland & Done out of Low Dutch.
In a Col. of Voyages and Travels. (566, k.7.)
614. The Unhappy Lovers; or, the History of James Welston,
Gent . . . together with his voyages and travels.
(Bound with the Mercenary Lover.)
615. Winter Evening Tales. See Collections.
1732
616. An Account of Cochin-China. In two Parts. Trans-
lated from the Italian of Chris. Borro, by A. and J.
Churchill. In a Col. of Voyages and Travels (566
K.7.)
617. The Life of Sethos. Taken from private memoirs of the
Ancient Egyptians. Translated from a Greek Manu-
script into French [or rather an original work by J.
Terrasson] and now faithfully done into English by
Mr. Lediar. (289. a. 76.)
1733
618. The Adventures of Prince Jakaya; or, The triumph of love
over ambition. Being ■ secret memoirs of the Ottoman
court. Translated from the original French [of Adrian
de La Vieuville D'Orville]. 2vols. (12491C.33.)
Cf . the Annals of Love, no. 20.
619. The Desperadoes; an heroick history. Tr.from the Italian
. . . of Giovanni Ambrogio Marini. (12477, b.17.)
620. Rosalinda; a Novel. Containing the histories of Rosalinda
and Lealdus, Dorisba and Leander, Emilia and Edward,
230
Adelais, Daughter of Oiho II, and Alerames, Duke of
Saxony. With a most remarkable story of Edmund,
the gallant Earl of Salisbury . . . By a man of Quality.
Tr. from the French [of Gaspard Moise Fontanieu].
(12512, dd.40.)
A romance somewhat between Telemachus and the
heroic romances.
621. The Secret History of Mama Oello, Princess royal of Peru
(i. e.. Princess Anne daughter of George II). A
new court novel. With a key. (i4i8d.40.)
1734
622. L'Entretein des Beaux Esprits. Translated from the
French of Mme. de Gomez by Mrs. Haywood.
(D.N.B.)
623. General History of the Lives and Adventures of the most
noted highwaymen. By Captain Charles Johnson.
(L. of R.)
624. General History of the Robberies and murders of the most
famous Pyrates. By Ch. Johnson [before 1734].
625. The Life and Adventures of Mr. Cleveland, natural son of
Oliver Cromwell, etc. [A romance tr. from the French
entitled Le Philosophe anglais by Antoine Frangois
Prevost d'Ekiles.] 4 vols. (1251623.)!
In 1736, another edition, Dublin.
626. Love in all its Shapes, Illustrated by the various practices
of the Jesuits with Ladies of Quality. (Gay.)
627. Love-Letters between a nobleman and his sister . . . viz.
E. . . . (Forde) Lord G . . . (rey) of Werk and the
Lady Henrietta B(erkeley). Second edition. (11626
a.24.) Cf. no. 298, 1682; 393, 1693; 583, 1728.
628. The Pleasant Companion; or. Wit in all shapes; being a
choice collection of novels, tales. (Bod. Douce N. 34.)
The novels are:
Love's Artifice, or the Negro.
The Despairing Prodigal.
The Labyrinth, or the Fortunate Thief [from Painter].
'This book was announced in the Daily Journal, Mar. 10, 1731 as in press
and in the London Evening Post for April 10, 1731 as published that day.
231
The Mistake.
The Midnight Ramble [from Cervantes].
629. The Unnatural Mother; or, Innocent Love persecuted.
Being the history of the . . . fatal consequences that
attended the . . . passion of a gentleman . . in the
Law and a young Lady. (ii775bbb.)
1735
630. The English Nobleman; or the Peasant of Quality. A true
History. Westminster. (i25iidf.i2.)
631. The Fortunate and Unfortunate Lovers [Dorastus and
Fawnia; Hero and Leander]. By H. Stanhope.
(12611, d.22.)
Cf. no. 308, 1683.
632. Letters from a Persian in England to his Friend at Ispahan.
By George Lyttleton, First Baron.
There was a fifth edition in 1735.
633. Memoirs of Gaudentio de Lucca. (Gay.)
634. The Most Entertaining History of Hypolite and Amynte.
Advertised in the Fortunate Lovers.
635. The Skimmer, or the History of Tanzai and Neardarne
(a Japanese tale) translated from the French of [C. P.
de Jolyot de Crebillon].
There was another edition in 1778. (Conant.)
636. The Tragical History of the Chevalier du Vaudray and the
Countess Vergi. Translated by Mr. Morgan.
Advertised in The Fortunate Lovers.
637. A Trip through the Town. Containing Observations on the
Humours and Manners of the Age. Fourth edition.
1736
638. The Adventures of Evaii, Princess of Ijaveo. By Elizabeth
Haywood. (Bodleian.)
Reprinted in 1741 as The Unfortunate Princess.
639. Celenia; or the hystory of Heyempsal, king of Numidia
[Dedication signed Zelis the Persian]. 2 vols.
(I26l2.d.)
Reedited in 1742.
640. Mogul Tales . . . Now first translated into Eng. with a
232
prefatory discourse on the usefulness of romances.
2 vols. (1076, i.43.)
641. Memoirs and History of Prince Titi. Done from the
French [of H. Cordonnier de Saint-Hyacinthe] by
a Person of Quality. (12511CC.2.)
642. Le Paysan Parvenue. Translated from the French of
Marivaux. (Cited by Miss C. L. Thompson in her
Samuel Richardson.)
643. La Vie de Marianne. Translated from the French of
Marivaux. (Cited by Miss C. L. Thompson in
her Samuel Richardson.)
1737
644. The Bachelor of Salamanca; or, Memoirs of Don Cherubim
de la Ronde. In jpts Translated [from the
French of Alain Rene Le Sage)] by Mr. Lockman.
2 vols. (i25iob.29.)
645. The Female Page: a Genuine and Interesting History
Relating to some Persons of Distinction, By Elizabeth
Boyd. (oi26iig.i7.)
It bears the running title "The Happy Unfortunate."
1738
646. The Life and Heroick Actions of the Eighth Champion of
Christendom; with a particular account of Ms combat
with the man in the moon, etc. (Professes to be
extracted from the work of R. Johnson.) By J.
Gurthrie. ('i26o3.aa.)
This is a satire.
1739
647. Chinese Letters; being a Philosophical, Historical, and
Critical Correspondence between a Chinese Traveler
at Paris and his Countrymen in China, Muscovy,
Persia and Japan. Translated . . . into [or rather
written in] French by the Marquis d'Argenson; and
now done into English. Reissued in 174 1. (Conant.)
648. The Unfortunate Dutchess; or, The Lucky Gamester; a
novel founded on a true .story. (Bod. G. Pamph.,
1310 (12).)
233
1740
649- The City Jilt; or, the A(lderman) (J. Barber?) turned
Beau. (8227bb.)
650. The Cruel Mistress; being the genuine trial of E. B. and her
daughter for the murder of Jane Buttersworth their
servantmaid, etc. Second edition. (5i8f.69.)
651. The Life and Adventures of Mrs. C. Davies commonly
called Mother Ross. By R. Burton (or D. Defoe
as some authorities, without good reason, think).
(io826ee.i6.)
In 1 74 1 reprinted.
652. Pamela; or, Virtue Rewarded. In a series of Familiar
Letters from a beautiful young damsel to her Parents,
By Sanauel Richardson.
653- The Whimsical Apothecary; a secret history.
Advertised in The City Jilt and probably identical with
the Gentleman Apothecary, no. 202, 1670.
The following novels are mentioned by Langbaine but
I have been unable to find out anything further about
them :
1. The English Adventurers furnished the source for
Shirley's The Doubtful Heir.
2. The English Lovers, by John Dancer, written between
1660 and 1675, comprised numerous novels which
furnished plots for plays.
3. Elvira furnished the plot of Lord Digby's tragi-
comedy Elvira about 1667.
4. The German Princess, a Novel, was the source for
A Witty Combat, in 1663.
5. The Overthrow of Capts. Ward and Daneke was the
source for the play A Christian turn'd Turk in
1609.
6. The Wall- Flower, by Dr. Baily, furnished George
Powell with the plot for The Treacherous Brother,
1690.
234
AN ALPHABETICAL LIST OF THE MORE IMPORTANT
REPRINTS
1. Amadis ofGaule. Bk. I was translated by A. Munday in
1590, Bk. II in 1595, and Bks. Ill and IV some time before
161 8. Early in 16 19 all four books were reprinted by
Nich. Oakes.
2. Arbasto, King of Denmark. By Robert Greene, in 1626.
3. Arnalte and Lucenda. [By Hernandez de San Piedro in
1491, tr. in 1575.] 1608 and 1660.
4. Bevis of Southampton in 1638-39, 1690, and advertised in
the T. C. for 1692.
5. Ciceronis Amor, Tullies Love. By Robert Greene, in 1605,
161 1, 1616, 1628, 1639, described as the tenth edition.
6. The Countesse of Pembroke's Arcadia. By Sir Philip Sidney.
[1590] in 1605, 1 61 3, 1 62 1, with Alexander's third book,
1623, 1627, with Beling's sixth book, 1629, with additions,
1633, 1654-55 with add. and biography of Sidney, 1662,
1674, 1725 modernized by Mrs. Stanley "With the poems
omitted to please the subscribers."
In 1701, it was condensed as The Famous History of
Heroic Acts: or, The Honour of Chivalry. Being an
abstract of Pembroke's Arcadia.
[By I. N.]
7. Daphnis and Chloe of Longus [1598]. Retranslated in 1657,
and again, by James Craggs, in 1733.
8. AnEthiopicanHistorie: FyrstWritteninGreekebyHeliodorus
and translated into English by TQiomas) U {under downe).
Entered for Thomas Harris, Sept. 6, 1602, and November
21, for Cotton, but his edition bears the date 1606. In
1622, another edition; Heliodorus his Ethiopican Historic
done out of Greeke [by Underdowne] and compared [by
the editor V. Barrett] with other translations in diverse
languages. 1638, The Famous Historie of Heliodorus.
Amplified, augmented, and delivered paraphrastically in
verse by W. Lisle. 1687, The Triumphs of Love and Con-
stancy: a Romance, containing the Heroick Amours of
Theagenes and Chariclea. In ten books. The first by a
Person of Quality, the last five by N. Tate. Second edition,
235
The first edition is presumably that advertised in the
T.C., 1684, under the title The Triumphs of Love and Con-
stancy.
Other references on the S.R. are as follows:
1619, Feb. 16, transferred to Snodham; 1619, July 8,
transferred to Lawrence Haies; 1625, Dec. 19, transferred
to Aide; 1638, Sept. 4, transferred to Haviland Wright.
The date of the original edition of Underdowne's
translation is uncertain. In 1569, Francis Coldock was
licensed to publish "The ende of the Xth. booke of Heli-
odorus Ethiopian Historye" but there is no edition
bearing that date. Yet Underdowne in the preface to
the 1587 edition mentions it "as not long since." Bliss>
in his edition of Anthony a Wood states positively that
the earliest edition is 1577, and that the same is repre-
sented by an undated copy in the Bodleian Library.
9. Euphues; the Anatomy of Wyt [1579] and Euphues and his
England [1581]. By John Lyly. In 1606, 1607, 1609?,
1613, 1617, 1623, 1630, 1636, 1716 "the seventeenth edition
much altered."
10. The Golden Asse of Lucius Apuleius. Entered for Charles
Knight June 26, 1600. This is presumbaly a reprint of
the translation by William Adlington which first appeared
in 1566 and was reprinted in 1571 and 1596. References
occur in lists of transfers in 5. R. for May, 1629, March 8,
1635-6, and July 12, 1639. On July 12, 1637, a trans-
lation by "W. S." was entered for John Thomas. Huth
mentions an edition of 1641 but does not specify the
translation.
11. Griselda, i. e., The History of the Noble Marquis of Salus
and Patient Grissel, 1619, 1630?, 1660, and 1703.
12. Guy, Earl of Warwick, in 1640, 1681, 1706, 171 1, 1733.
13. Lazarillo de Tormes [The first part was originally translated
in 1568.] 1619?, 1638?, 1653, 1655, 1670, 1672, 1677,
1708, 1726.
14. Menaphon [1589]. By Robert Greene. 1607?, 1610, 1616.
15. Ornatus and Artesia [1598]. By Emanuel Ford. 1607,
1634, 1654 the fourth, 1669, 1683.
236
i6. Palmeryn of England. [1588] 1602, 1609, 1616, 1617?,
1639 with Florian, 1664.
17. Palmeryn d'Oliva. [1588], 1615, 1637 and many undated
editions.
18. Pandosto, or Dorastus and Fawnia [1588], By Robert
Greene. 1614, 1648, 1677, 1688, 1696 moralized and bound
with Josephus, 1703, 1750?.
19. Parismus [1598]. By Emanuel Ford. 1608, 1609, 1615,
1630, 1633, 1636, 1649 the thirteenth, 1657, 1663, 1664,
1665, 1668, 1671, 1677, 1680?, 1684, 1690, 1696, 1699,
1701, 1704, 1713.
20. Philomela [1592]. By Robert Greene. 1615 and 1631.
21. .4 Quip for an Upstart Courtier. By R. Greene. 1620
and 1635.
22. Rosalynde, Euphues Golden Legacie [1590]. By Thos.
Lodge. 1607, 1609, 1612, 1623, 1634.
23. Robin Hood, The editions are seldom dated but there
was one in 1678, and others in 1700? and 1712.
24. The Destruction of Troy [as translated by Caxton]. 1607
the fifth edition, others in 1617, 1663, 1670, 1676, 1680,
1684, 1702, 1708, 1738 at DubHn described as the eigh-
tenth.
25. Utopia. By Sir Thomas More. The Latin version was
printed in 15 16 and reprinted in England in 1663,
1750, 1771- An English translation appeared in 1551,
by Robinson, which was reprinted in 1556, 1597, 1624,
1639. Burnet's version was printed by Chiswell in 1684
and reprinted in Dublin in 1737.
26. Valentine and Orson [1586] or earlier. 1637, 1649?, 1673?,
1680?, 1690?, 1697?, 1700?, 1710, 1724, 1736 described
as the sixteenth, 1741.
27. Vienna, Noe Art can cure this Heart [1485]. 1620, 1638?,
1650.
28. The Voyage of the Wandering Knight [1572]. By Jean Car-
tigny [tr. 1581], 1607, 1615?, 1620, 1650, 1661, 1670,
1687 as The Conviction of Worldly Vanity.
,237
A CHRONOLOGICAL LIST OF THE PRINCIPAL COL-
LECTIONS OF NOVELS WITH THE NOVELS
CONTAINED IN EACH
I. The Annals of Love, containing Select Histories of the Amours
of Divers Princes Courts Pleasantly Related.
For J. Starkey, London, 1672.
1. Countess of Castile elopes with a Pilgrim.
2. Alfreda of England.
3. Don Garcia. The revenge taken by the husband of
the Countess of Castile.
4. The Duke and the Duchess of Modena.
This couple, passionately loved by the Empress
and Emperor respectively, are loyal to each other
and while talking over their plight in a garden are
overheard by the emperor and practically compelled
to commit suicide.
5. Three Princesses of Castile.
Urasia, wife of Raymond, is unloved by him.
Her sister Elvira, exasperated by her husband,
yields to Raymond. The discovery of her crime
leads to the death of all concerned.
Theresa, equally disloyal, manages her affairs with
such discretion as to avoid detection.
6. Agnes de Castro.
7. Constance the fair Nun marries the son of her lover,
the Emperor Frederick.
8. James King of Aragon. His revenge on a faithless
wife.
9. The Fraticelles or Hypocritical Fryars.
ID. Dulcinus, King of Lombardy.
11. Nogaret and Mariana.
12. Don Pedro, King of Castile.
13. John Paleologus, Emperour of Greece.
14. Amedy, Duke of Savoy.
15. Countess of Pontieuvre.
16. Feliciane.
17. Jone, supposed of Castile.
238
1 8. The Persian Princess.
19. Don Sebastian, King of Portugal.
20. Jecaya a Turkish Prince.
This tale, enlarged, reappeared in 1733 as The
Adventures of P- J., a translation from D'Orville.
II. A Collection of Select Discourses out of the most Eminent
Wits of France and Italy. A Preface to M. Sarassin's
Works by M. Pelissin. By S. R. for Henry Brome,
London, 1678. (836C.1.)
1. A Dialogue of Love, by M. Sarassin.
2. Wallenstein's Conspiracy, by M. Sarassin.
3. Alcidalis, a Romance, by M. Voiture.
In 1676 a burlesque version of this romance ap-
peared under the title Zelinde an excellent new
romance.
4. Freskie's Conspiracy by Sig. Mascardi.
There are also discourses on style and letters to the dead,
such as one to Cleopatre urging her to kill herself.
III. Delightful Novels Exemplified in Eight Choice and Elegant
Histories Lately Related by the most Refined Wits;
with Interludes . . . in which are comprised the Gallant
Adventures, Amorous Intrigues, and Famous Enter-
prizes of several English Gentry. With the most
Pathetick Oratory and Subtil Stratagems used in Love-
Affairs. The fourth Impression, Enlarged with the
Addition of two New Novels. Printed by Benj.
Crayle, 1686. (io8id.6.)
The stories are eight in number.
I . Honorious. The tale of a poor reprobate who won a
rich wife by a trick.
2rf Amasius and Orteha. These lovers were betrothed, but
desiring to make a better match Amasius's father tried
to force him to marry another, whereupon Ortelia died
of grief and was shortly followed to the grave by her
lover.
3. Cratander. He rescued an heiress from a cruel death
by a murderous uncle and is rewarded by winning
her hand and her wealth.
239
4- Charilius. A very gross story of a man who in trying
to deceive an heiress was himself outwitted.
5. Joanna. The heroine while a child ran away with the
gypsies, but as it happened that she was brought
up by an uncle her sudden diappearance was looked
upon as suspicious and he was charged with mur-
dering her. Upon being brought to trial he at-
tempted to substitute another child for the lost one,
which fraud, being found out, was used as evidence
against him, and he was convicted and executed.
Years later the little Joanna reappeared as a gypsy and
married the son of the judge that sentenced her uncle.
The management of the court scenes and the careful
weaving of the net of circumstantial evidence is
well done.
The story was reprinted in many undated chap-
books.
6. Orithia. This is the old story of the "Duchess of
Savoy."
7. Clitia. This wicked courtezan induced Leander to kill
his wife in order to marry her, not because she loved
him but because such a marriage would conceal her
intrigue with Clitophon. She died just before the
ceremony, whereupon Leander committed suicide.
8. Aurelia. She was the lady of Count Baldwin and in
love with his page. The latter proved to be a girl,
who being left destitute when the husband with
whom she had eloped had been killed by robbers,
had adopted the life of a page as a means to earn
her living. Shortly after this disclosure, Aurelia
died and Baldwin promptly married his quondam
page.
IV. Modern Novels. In Twelve Volumes. Bentley and
Magnes. London, 1681-93. (12410.C.)
This collection is composed of forty-six current
novels printed for the most part before 1692 although
the last volume bears the date 1693. Apparently the
publishers simply bound together copies left on their
240
hands, for the title-pages bear varying dates and the
print and paper are not uniform.
Vol. I.
1. The Earl of Essex and Queen Elizabeth.
2. The Duke of Alangon and Queen Elizabeth.
3. The King of Tamaran or Hattige, By G. Bremond ( ?)
(1680.)
A very coarse tale of a faithless mistress.
4. Homais, Queen of Tunis, by Sebastian Grenadine.
(1681.)
A coarse love-intrigue.
5. The Lucky Mistake: a new novel. (1689.) By A.
Behn.
Volume II.
6. Casimer, King of Poland (Amours of). (1692.)
7. Count Gabalies or the Extravagant Mysteries of the
Cabalists. Done into English by P. A(yres).
8. The Cheating Gallant ; or. Count Brion. A secret his-
tory of court amours.
9. The Perplex'd Prince.
The prince married a subject, and after his wife's
death is prevailed upon to declare the child illegit-
imate, but later he discovered his brother was plot-
ting against him and made the child his heir. The
descriptions of the country are better than usual.
Probably there is a covert allusion to Charles and
the Duke of Monmouth.
Volume III.
10. The Court Secret in two parts. Dedication signed
P. B. Court scandal in Oriental setting.
11. The Countess of Salisbury; or the most noble Order
of the Garter. An Historical Novel in Two Parts.
Done out of French by Mr. Ferrand Spence. (1683.)
The introduction to this well-known anecdote is
amusing, for the translator explains he had changed
the heroine's name because "Joan" was too "vulgar,"
and for similar reasons the author had altered and
enlarged certain details.
241
Volume IV.
12. The Character of Love Guided by Inclination, in-
stanced in two true histories. (1681.)
The first was an account of the effects of love
on a passionate boy followed by some remarks on
the benefits of a good education.
13. The New Disorders of Love; a gallant Novel.
14. Triumph of Love over Fortune, by G. Bremond.
(1678.)
This is a tale of a shepherdess who preferred a
shepherd to a King.
15. Love Victorious over Fortune.
The lovers manage to elope in spite of the obstacles
put in their way by their parents.
Volume V.
16. Don Sebastian King of Portugal, trs. by Ferrand
Spence.
This story is a medley of love and war.
17. Art of Making Love.
18. Fatal Beauty of Agnes de Castro. (1688.)
19. The Amorous Abbess or Love in an Abbey.
This contains the usual intrigue of crossed loves.
Volume VI.
20. Life of Francis of Lorrain, Duke of Guise. (1681.)
This seems to be a bone fide biography; there are
no love intrigues.
21. Fatal Prudence; or Democrates, The Unfortunate
Hero. A Novel. Translated out of French. (1679.)
22. Ottoman Gallantries; or, the Life of the Bassa of
Buda. (1687.) Translated out of French. Trans-
lator's preface signed B. Berenclow.
23. Don Heneriques de Castro ; or the Conquest of the
Indies.
A Spanish novel.
Volume VII.
24. The Chaste Seraglian : or, Yolanda of Sicily. A Novel
in two parts done out of French by T. H., Gent.
25. The Princess of Fess; or, the Amours of the Court of
17
242
Morocco. This is a secret history in the form of
a romance.
26. Zelinde; an Excellent New Romance. Translated
from the French of Monsieur de Scud6ry. By T.
D., Gent. (1676.)
This is a burlesque of Voiture's Alcidalis and
Zelide.
27. The Obliging Mistress; or, the Fashionable Roman.
(1678.)
A series of lively but not very decorous intrigues.
28. The Revived Fugitive; A Gallant Historical Novel.
(1690.)
A rather poor short romance.
Volume VIII.
29. The Extravagant Poet; a Comical Novel. Trans-
lated from the French by G. R., Gent. (1681.)
A humorous character in the manner of the Spec-
tator but more extravagant.
30. The Unequal Match; or the Life of Mary of Anjou,
Queen of Majorca. Published by C. Blount. (1681.)
31. Amours of Bonna Sforza, Queen of Polonia. (1684.)
32. The History of the Mar6chal de la Ferte. (1690.)
Volume IX.
33. Gallant Ladies.
A group of ladies tell their experiences. This
mixture of romance and intrigue contains a con-
siderable amount of "manners and morals."
34. The Minority of St. Lewis.
Primarily a true history though there are some
love intrigues.
35. Gallant Memoirs: or the Adventures of a Person of
Quality. Written in French by G. Bremond and
translated by Peter Belon. (1681.)
36. The Happy Slave by G. Bremond.
A romance. Dedicated to the Earl of Orrery.
Volume X.
37. The Count de SoissOns, a Gallant Novel.
A typical cloak and sword novel.
38. The Princess of Montferrat,
243
A novel of the cloak and sword order modified by
the conventions of the H6tel de Rambouillet.
39. The Rival Princesses : or, the Colchian Court. (1689.)
A coarse secret history.
Volume XI.
40. The Cabinet Opened ; or, the Secret History of the
Amours of Madam de Maintenon. (1690.)
41. Meroveus, A prince of the Blood-Royal of France.
(1682.)
This story is set in the middle ages. The queen is
remarkably well drawn.
42. The Count of Amboise or the Generous Lover. Trs.
by Peter Belon. (1689.)
Evidently modelled after the Princess of Cleves
and though not so good as that, it is superior to most
novels of the period.
Volume XII.
43. Instructions for a Young Nobleman or the Idea of a
Person of Honour. (1683.)
44. Virtue Rewarded: or, the Irish Princess. A New
Novel. (1693.)
45. The Emperour and the Empire Betrayed : By Whom
and How. Not a novel but a controversial pam-
phlet.
46. Dialogues of the Dead. In Three Parts. Dedicated
to Lucian in Elysium. Made English by J.D.
(1683.)
V. A Banquet for Gentlemen and Ladies, consisting of Nine
Comick and Tragick Novels. London, second impres-
sion, 1703.
1. The Treacherous Friend.
2. The Jealous Husband. Not unlike the Merry Wives
of Windsor.
3. The Friendly Cheat.
4. Jealousy without a Cause.
5. Cuckold turn'd Confessor, by John Haywood.
6. The Prodigal Reclaim'd and Virginity Restored.
This is a translation of The Force of Blood by Cer-
vantes.
244
7. The Unfortunate Lovers.
8. The Cruel Mother. She has her daughter's lover
killed and serves her his heart at dinner. The girl
is prevented from committing suicide by another
lover whom she marries.
9. The Bacchanalians.
VI. A Select Collection of Novels. In Six Volumes. Written by
the most celebrated A uthors in several Languages. Many
of which never appeared in English before; and all newly
Translated from the Originals. By several Eminent
Hands. S. Croxall, 1722, reprinted 1729. (12410c.)
Vol. I.
Huet's Letter to Segrais upon the Original of Romances.
Zayde.
The Marriage of Belfegor.
The Jealous Estremaduran.
Volume IL
The Princess of Cleves. Pt. I dated 1720.
The Fair Maid of the Inn.
The Force of Friendship.
The History of the Captive from Don Quixote.
Vol. III.
Don Carlos; an Historical Novel. Originally written in
French by the Abbe of St. Real.
The History of the Count de Belflor and Leonora de
Cespedes.
The Curious Impertinent.
The Prevalence of Blood.
The Liberal Lover.
The Beautiful Turk.
Vol. IV.
The Happy Slave.
The Rival Ladies.
The Innocent Adultery.
The History of the Conspiracy of the Spaniards against
the Republic of Venice. In the Year MDCXVIII.
Vol. V.
The Spanish Lady of England.
245
The Lady Cornelia.
The False Dutchess.
The Little Gypsy.
Ethelinda. An English Novel done from the Italian
of Flaminiani.
Vol. VL
The Life of Castruccsio Castracani of Lucca. From
Machiavelli.
The Loves of Osmin -and Doraxa. From Guzman d'
Alfarache.
The Amour of Count Palviano and Eleanora.
Scanderbeg the Great.
Vn. Winter Evening Tales. Being a Collection of Entertaining
Stories, Related in an Assembly of the most Polite
Persons of the French Nation. Published by F.
Cogan, 1731. (12614.ccc.14.)
1. History of the Marquis de Criton. A story with
much the same plot as The Conscious Lovers.
2. A very short anecdote showing how a number of
unusual incidents made a man think his wife untrue.
3. The Vinegar Man. This man's wealth enabled his
son to marry a girl of rank.
4. The Baby. A practical joke.
5. All Covet, All Lose; or too many strings to a lady's
bow.
6. The Landlady at Mans.
7. Mile. Ch., The Count and the Chevalier.
8. The Mercenary Lady.
9. Mistaken Opinion. A gentleman hearing two iron-
workers talking thinks they are discussing the bolts
and bars and fires of love.
10. The Coquette Widow.
11. One Project destroys another.
12. Mile, de Roches.
13. The Illustrious Water-Carrier. [From Cervantes.]
14. Prentice too Hard for his Master.
15. The Philosopher's Stone.
16. Col. and Mile, de St. Valentine. A version of Lady
Cornelia.
246
A LIST OF THE MORE IMPORTANT ENGLISH
WRITERS WHOSE WORKS ARE INCLUDED
IN THE FOREGOING BIBLIOGRAPHY
Aubin, Penelope.
Bacon, Francis.
Barclay, John.
Barker, Jane.
Baron, Robert.
Behn, Aphra.
Boyle, Roger.
Breton, Nicholas.
Brown, Thomas.
Bunyan, John.
Burton, R., Nathaniel
Crouch.
Cavendish, Margaret, Duch-
ess of Newcastle.
Congreve, William.
Crowne, John.
Davies, John of Kidwelly.
Defoe, Daniel.
Greene, Robert.
Haywood, Eliza.
Head, Richard.
Johnson, Richard.
Kirkman, Francis.
L'Estrange, Roger.
Lodge, Thomas.
Lyly, John
Lyttelton, George, first
Baron.
Mackenzie, George.
Manley, Mary de la Riviere.
Markham, Gervase.
More, Sir Thomas.
Phillips, John.
Sidney, Philip.
Swift, Jonathan.
INDEX.
Abra-Mulie, 205
Academy of Complements, 197
Academy of Love (J. Johnson), 47,
170
Account of Cochin-China, 229
Account of Oriental Philosophy,
ii3n, i8s
Account of some Passages in the
Life of a Private Gentleman, 126
Account of the behaviors .. .of the
condemned criminals ...at Ty-
burn, 207
Account of the discovering and
taking of S. Griffith, a witch, 208
Achilles Tatius, Leucippe and Cli-
tophon, II
Addison, John, translation of Satyri-
con, 9 ; 1 79
Addison, Joseph, on heroic roman-
ces, 36 ; writings of, express ideal
of the age, 95
Adlington, Wm., translated the
Golden Ass, 9
Adventure of Clodaldus and his
Three Children, 166
Adventures of Abdalla, 227
Adventures of Covent Garden, 47,
20s
Adventures of Evaii, Princess of
Ijaveo, 99, 102, 231
Adventures of L. Marott, 188
Adventures of Prince Jakaya, 229
Adventures of Rivella, 86-87, 213
Adventures of Telemachus, 205
Adventures of the Helvetian Hero
with the Young Countess of Al-
bania, 63—64 ; 204
Agratis, Queen of Sparta, 197
Alarme for Sinners, 188
Alcoforado, Marianne, author of
Portuguese Letters, 71
Alexis and Sylvia, no
Allegorical romances, 23—27 ; Bar-
clay's Argenis, 23-25 ; imitations,
25-27 ; The Flower of Fidelitie,
26 ; Aretina, 26-27 ; influence of,
on fiction, 27
Allegory, in heroic romances, 35 ;
Pilgrim's Progress most perfect
example of, 121-24 ! Life and
Death of Mr. Badman, 124-26
Almahide (Mile, de Scudery), 28,
33 ; drama founded on, 36 ; Moor-
ish setting in, 37; 187
Almansor, 163
Almansor and Almanzaide, in, 188
Almira, 210
Altisira, Princess of Fess, 61, iii,
194
Amadis Cycle source of Arcadia, 14
Amadis de Gaule, 4 ; The Fifth
Book of, 173
Amanda, the Reformed Whore
(Thos. Cranley), 119-20; 166
Amorous A., The, 196
Amorous Bugbears, The, 221
Amorous Convert, The, 189
Amorous Travellers, The, 182
Amours of Bonne Sforza, Queen of
Polonia, 196
Amours of Bosvil and Galesia (Mrs.
Barker), 104, 214
Amours of Count Teckeli, 198
Amours of Edward IV, 57 ; 206
Amours of Madame and the Count
de Guiche, 191
Amours of Messalina, 61, 201
247
248
Amours of Philaris and Olinda, 51,
202, 227
Amours of the Count de Soissons,
228
Amours of the Marshal de Boufflers,
2bs
Amours of the Sultana of Barbary,
61, 201
Amusements Serious and Comical
Calculated for the Meridian of
London, 47, iii, 206
Anaxander and Orasia, 169
Annals of Love, The, 183
Anti-hero in picaresque miscellanies,
45
Anti-romance, Zelinde an, 39
Anti-romances, 43—49 ; comic ro-
mances, 44—45 ; picaresque mis-
cellanies, 45-47 ; narrative satires,
47-48 ; contribution of, 48-49
Apollonius of Tyre, 7, 8-9
Apologue, The, examples, 112; in-
fluence of, 113
Apparition of Mrs. Veal, The
(Daniel Defoe), 127, 209
Apuleius, The Golden Ass, g
Arabian Nights Entertainment, iii,
212
Arcadia (Sir Philip Sidney), 14-16;
significant features in, 14-15;
popularity of, 15; references, 15,
imitations of, 16 ; pattern for
Pandion and Amphigenia, 40
Arcadian Princess, The, 166
Arcadian Romances, 14-16 ; Sid-
ney's Arcadia, 14-15 ; imitations,
16 ; elements of, in Astree, 28
Aretina. (Sir George Mackenzie)
26-27; 178
Argenis (John Barclay), 24; trans-
lations and imitations, 24—25, 41
Ariana (D. de Saint-Sorlin), 38, 167
Arragonian Queen, The, 220
Art of Making Love, The, 200
Artamenes or the Grand Cyrus, 33,
36, 175
Arthurian romances, 1600-1740, 3-5 ;
contrasted with Spanish cycles, 5
Asteria and Tamberlaine, 187
Astraea, History of, 161
Astree (Honore d'Urfe), 16, 28
Atalantis Major, 212
Aubin, Mrs. Penelope, Narratives
of, characterized, 106 ; Life of
Mme. de Beaumont, 106, io7n,
217; Strange Adventures of the
Count de Vinevil and his family,
106, io7n, 218 ; The Noble Slaves,
106, 219; History of Genghizcan,
a translation, 106, 218; Life and
Adventures of the Lady Lucy,
106, 107, 224; The Illustrious
French Lovers, 106, 107-8, 225;
Life of the Countess de Gondez,
106, io8n, 227; imitated Defoe,
106, 134; value of works, 108;
undated edition of works, 22Sn
Aurora and the Prince, 171
Autobiography, Defoe's favorite
form of narration, 127, 130
Bachelor of Salamanca, The, 232
Bacon, Sir Francis, New Atlantis,
20; 163
Baily, Dr., The Wall-Flower, 233
Bajazet, 221
Bandello, 8, 51
Banquet for Gentlemen and Ladies,
A, 8, 52, 207
Barbauld, Mrs., on Richardson's
predecessors, 14
Barclay, John, Argenis, 23-25 ; 162-
63 ; sketch of life of, 23n ; Eu-
phormionis Lusinini Satyricon,
47, 158
Barker, Mrs. Jane, on the romances,
43 ; early associations of, 103 ;
Poetical Recreations, 103-4; ■^f-
ours of Bosvil and Galesia, 104,
214 ; other romances, io4n ; Ex-
ilius, 3in, 104-5, 113, 214; in-
structive novels, 1 05; A Patch-
249
work Screen for the Ladies, 105,
221 ; The Lining of the Patchwork
Screen, 73, 105, 224; story of
Capt. Manley, 105-6; The Chris-
tian Pilgrimage translated by, 215 ;
The Entertaining Novels of, 224
Barlaam and Josaphat, 7, 8
Baron, Robert, The Cyprian Acad-
emy, 40—41 ; 171
Bath-Intrigues, 221
Behn, Mrs. Aphra, Source of The
Young King, 36 ; 75-85 ; sketch
of life, 75-76 ; three series of
letters, 76 ; Love-Letters to a
Gentlemen, 76-77; Letters to
Lycidas, 77-78, ipin; The Lover's
Watch, 77, igSn; humorous
stories : The Little Black Lady,
78, 196 ; The King of Bantam, 78-
79, 197; histories: Oroonoko, 80-
82, 200 ; The Fair Jilt, 46, 77, 82-
83, 200 ; novels of cloak and
sword : Agnes de Castro, 83 ; The
Nun, 83, 201 ; The Lucky Mis-
take, 83, 201 ; summary of works,
84-85 ; compared with Mrs. Hay-
wood, 103; Histories and Novels,
205 ; books attributed to, 213
Beling, Richard, Sixth Booke to the
Countesse of Pembroke's Ar-
cadia, 163
Belon, Peter, translator, 39 ; The
Court Secret, 168
Bentivolio and Urania (N. Ingelo)
27
Beraldus, Prince of Savoy, 185
Berenclow, R., translator, 39
Berger Extravagant, Le (Sorel), 44
Bergerac, Cyrano de, Comical His-
tory of the States of the Moon
and the Sun, 21, 168
Bernard, Richard, The Isle of Man,
118, 121, 163
Berners, Lord, History of the most
noble knight, Arthur of Lytell
Brytaine, 4
Biographical narrative popular in
17th century, 60-62
Biondi on Sidney, 16; Eromena,
30 ; three romances by, 38
Birinthia, 33, 35, 179
Bissel, John, Icaria, 25, 167
Blackborn, Richard, Clitie, 200
Blackbourn, R., Three novels in one,
201
Blackmore, Sir Richard, Epics of, 4
Blair, Bryce, Vision of Theodorus
Verax, 183
Biasing World, The (Duchess of
Newcastle) 23, 36, 93
Bloody Innkeeper, The, 185
Boccaccio, 8, 51
Bontemps, Roger, Les Heureuses
Avantures d'Amour, 181
Boulster Lecture, A, 168
Bourgeoisie dealt with only in comic
episodes, 98 ; sympathetic treat-
ment of, no; Bunyan wrote in
terms of, 122
Bower's Cyrus the Great, Source of,
36
Boyd, Elizabeth, The Female Page,
232
Boyle, Robert, Martyrdom of Theo-
dora and Didymous, 8n, 199
Boyle, Roger, Lord Broghill, Par-
thenissa, 34, 175 ; personal allu-
sions in Parthenissa, 35, English
Adventures, 58-59, 186
Brathwaite, Richard, The Smoking
Age, 207
Bremond, Gabriel de, 38n
Breton, Nicholas, The Strange For-
tunes of Two Excellent Princes,
154; A Mad World my Masters,
155 ; Grimello's Fortunes, 155
Brief and Merry History of Great
Britain, 211
British Recluse, The (Mrs. Hay-
wood), 99, 218
British Visions, The, 2i3n
Broghill, Lord, see Boyle, Roger
250
Brothers, The, or Treachery pun-
ished, 55, 227
Brown, Thos., version of Satyricon,
9; 179
Brown, Tom, Dialogues of the Dead,
97
Browne, William, translated Polex-
andre, 32, 171
Bunyan, John, Sources of Allegories,
121; Pilgrim's Progress, 122-24;
190 ; Life and Death of Mr, Bad-
man, 46, 124-25 ; Grace abounding
to the Chief of Sinners, 125 ; The
Holy War, 125; imitators of, 125-
26 ; influence of, 126-27
Burlesques, French, 44
Burton, Richard, see Nathaniel
Crouch
Burton, Richard or Robert, pseu-
donym of Nathaniel Crouch, 4,
note 4a
Bynnerman, Henry, Treasurie of
Amadis of Gaule, 5
Cabinet Open'd, The, 202
Canons, Aristocratic fiction con-
formed to recognized, i
Canons derived from classical models,
29, 30
Capello and Bianca, 187
Captain Singleton (Daniel Defoe),
129-30, 216
Carleton, R., Diana, Duchess of
Mantua, 41, 189, 191
Carolingian romances 1 600-1 740, 3;
contracted with Spanish cycles, 5
Casimer, King of Poland, 61, 62,
202
Casket story. The, of Shakspere, 8n
Cassandra and Others of the Sex,
208
Castiglione, The Courtier of, source
of the hero, 31 ; 89
Celenia, 33, 35, 231
Cervantes, Galatea, 37 ; Persiles and
Sigismunda, 38 ; Liberal Lovers,
38, 42; Don Quixote, 44, 158;
humor of, 45 ; Exemplary Novels,
53
Chamberlayne, P., Pharonnida, 30,
33; Love in its Empire, 217
Chandler, F. W., on picaresque mis-
cellanies, 43n, 45, 46, 47n
Chapbooks, dealing with heroes, 4 ;
imitations of Arcadia, i6; mod-
eled on Euphues, 18 ; influence on
fiction, 115
" Character," The, 90 ; in periodicals,
93
Character of Love guided by Incli-
nation, The, 198
Character-sketch, The, types and in-
fluence of, 96-97 ; Sir Roger de
C overly culmination of, 137
Character-sketches, 48
Character study, subjective in Play-
ers Tragedy, 54 ; in memoirs, 62
Characterization in heroic romances,
31 ; in dialogues, 97
Characters, in Ethiopian History,
11-12; idealized in Arcadia, 14;
prominent personages, 23 ; in
Eromena, 34 ; in Celenia, 35 ; in
miscellaneous romances, in New
Atlantis, 60, 87-88 ; in novel of
manners, 65 ; in Mrs. Manley's
works, 86, 87 ; in Mrs. Rowe's
works, 94 ; in Mrs. Haywood's
works, loi ; in Bunyan's works,
122, 123, 125 ; in Defoe's works,
130, 133
Charlanne on translations of heroic
romances, 32
Chaste Seraglian, The, 38, 196
Cheating Gallant, The, 62, 188
Chinese Letters, 232
Chinese, Tales or the Adventures of
the Mandarin Fum-Hoam, iii,
221
Chivalric Romances, 3-7 : Arthurian
and Carolingian cycles in, 3-5 ;
Spanish cycles, 5 ; narratives by
261
Ford, 6-7 ; contribution of, to
early novel, 7, 116; elements of,
in heroic romances, 28 : redac-
tions of, 115-16; structure in
Pilgrim's Progress similar to, 122
Choice Banquet of Witty Jests,
Rare Fancies and Pleasant Novels,
52, 179
Choice Novels and Amorous Tales,
173
Christian Pilgrimage of Salignac de
la Mothe Fenelon, 215
Chronicle of Tyburn, The, 216
Cimmerian Matron, The, 181
Cinthio, 31
"Circular plot" in Roxana, 131
City Jilt, The, 232
Classical Romances, 7-14 ; significa-
tion of term, 7 ; Milesian tales,
7-9 ; Latin fiction, 9-1 o ; Greek
erotic tales, 10-14
Clelia, 33, 176
Cleopatre (La Calprenede), 28, 36
" Cleophil " pseud, of Congreve
Clidamus, 167
Gloria and Narcissus, 25, 33, 17s
Codrington, R., Life and Death of
Robert, Earl of Essex, 171
Collection of Pleasant Novels, 206
Colloquialism introduced into novel,
114
Colonel Jack see History and Re-
markable Life of.
Comedy, Influence of, on novels, 66
Comic romances, Don Quixote, 44 ;
French, 44 ; English, 44-45 ; in-
fluence of, 45, 48 ; rarely vulga-
rized, 116
Comical Bargain, The, or Tricks
upon Trick, 209
Comical History of Francion, 44,
176
Comical History of the . , . Moon
and the Sun, 21, 168
Comical Pilgrim, The, 218
Comical Views of London and West-
minster, 47
Commercial class, Rise of the, 2
Commonwealth of Oceana (James
Harrington), 20, 176
Companion for the Ladies Closets,
213
Compendious History of George the
Farmer, 61
Compleat Mendicant, The, 46; good
man as hero in, 49, 206
Conant, Martha Pike, The Oriental
Tale in England, iii
Conduct book, Euphues a, 17
Conduct books, 89-91; by Defoe,
132, 133, 137
Confession of R, B. the hangman,
172
Congreve, William, on novel as dis-
tinguished from romance, 50 ; on
analogy between fiction and
drama, 67, 68 ; Incognita, 67-69 ;
quotations, 67-68, 203
Consolidator, The (D. Defoe), 21,
127, 208
Constant but Unhappy Lovers, The,
210
Constant Lovers, The, story of
Solenus and Perrigonia, 42-43,
228 ; story of Alexis and Sylvia,
no
Contemporary manners in English
novels, 63 ; in Defoe's works, 132
Contemporary narratives. Elements
in, 114
Continuation of Comical History of
Don Quixote de la Mancha, 208
Coralbo, 176
Costeker, John Littleton, Entertain-
ing History .of . . . Solenus and
Perrigonia, 42-43 ; 228
Cotterel, Sir Charles, translated
Cassander, 33, I73; exchanged
epistles with the " Matchless
Orinda," 36
Count d'Amboise, 191, 201
252
Count de Soissons, 200
Count of Gabalis, The, 192
Counterfeit Lady Unveiled, The, 184
Countess of Bedford's Arcadia, 156
Countess of Montgomery's Urania
(Lady Mary Wroth), 16
Countess of Salisbury, The, 195
Court Secret, The, 201
Courtly romances. Transition from,
to novel of manners, i
Crafty Lady, The, 195
Cranley, Thomas, Amanda, 119-20;
166
Credence, Devices used by Bunyaa
for gaining, 125; by Defoe, 127
Criminal biography, raised to realm
of literature, 119; by Defoe, 130
Cross, Prof., defines character-
sketch, 96
Crouch, Nathaniel, reworked old
stories, 4 ; History of Nine
Worthies of the World, igg ;
Female Excellency, 226 ; Life and
Adventures of Mother Ross, 233
Crowne, John, Paudion and Am-
phigenia, 33, 40, 179
Cruel Mistress, The, 232
Cupid and Psyche, Episode of, 9
Cynthia, 41-42 ; quotation from, 42 ;
199
Cyprian Academy, The (Robert
Baron), 40 ; quotation from, 41 ;
171
D., T., as a translator, 39
D., W., Gent., Taxila, 41
Dancer, John, The English Lovers,
233
Daphnis and Chloe (Longus), 11
Davies, J., translator, 182, igin
Davys, Mrs. Mary, The Reformed
Coquette, 70, 220
Dean of Killerine, The, 214
Decameron, The, sin, 160
Defoe, Daniel, Reflective point of
view in, 12 ; and romances of
roguery, 47; optimism in, 117,
use of news-narratives by, 119;
early literary training, 127-28;
History of the Wars of Charles
XII, 127, 214 ; The Consolidator,
21, 127, 208 ; The Apparition of
Mrs. Neal, 127, 209 ; Robinson
Crusoe, 128-29, 215; Capt. Single-
ton, 129-30, 216; Moll Flanders,
119, 129-30, 217; Colonel Jack,
129-30, 218; Criminal literature
and narratives of adventure, 129-
30; Roxana, 119, 129-31, 220;
Journal of the Plague Year, 132,
218 ; Life and Adventures of Mr.
Duncan Campbell, 132, 216; mis-
cellaneous narratives, 132; The
Family Instructor, 90, 132—33,
134, 214; Religious Courtship,
90, 133-34, 219; influence on
prose fiction, 134-35 J The Dumb
Philosopher, 215; The King of
Pirates, 216; Due Preparations
for the Plague, i29n, 218; The
Highland Rogue, 219; History of
. , . Life of John Sheppard, 220 ;
A New Voyage Round the World,
221 ; Account of the conduct of
the late J. Gow, 221 ; Life and
Actions of Jonathan Wild, 223 ;
books attributed to, 49, 202, 207,
211, 212, 2isn, 216, 218, 220,
223n
Dekker, Thos., O per se O, 46 ; The
Belman of London, 157
Delightful Novels, The, 8, 52, 113
Delightful Novels exemplified in
eight choice Histories, 198
Deloney, Thomas, stories of popular
heroes, 117; Historic of John of
Winchomb, 160
de Luna, John, Pursuit of the His-
toric of Lazarillo de Tormes, 162
Dent, Arthur, The Plaine Man's
Pathway to Heaven, 118, 121, 171
Descriptive narratives, 47-48
253
Desmarets de Saint-Sorlin, Ariana,
38
Desperadoes, The, 229
Dialogue, The, a device in social
treatises, 90 ; examples and influ-
ence of, 97
Dialogue between Dick Brazenface
and Tim Meanwell, 212
Dialogue between Francesco and
Aurelia, 198
Dialogue in novelle, 62 ; in narra-
tive comedies, 66
Dialogues by Defoe, 97, 133-34
Dialogues de M. le Baron de la
Hontan, 208
Dialogues of Lucian, Imitations of,
97
Dialogues of the Dead, 50, 196
Dialogues of the Dead (Prior), 97
Dialogues of the Dead and the Liv-
ing and the Dead (Tom Brown),
97
Diana (Montemayor), 37
Diana, Duchess of Mantua (R.
Carleton), 41, 189
Dianea (Loredano), 38, 175
Diction, Elegance of, in Greek ro-
mances, 13; in Cyprian Academy
and other romances, 40-41
Didactic narratives of Mrs. Aubin,
106
Didactic purpose in Greek romances,
38-39
Didactic stories in periodicals, 95 ;
by Mrs. Haywood, 99
Didactic story. The, 111-13; fables,
112; the apologues, 112; the edu-
cative treatise, 113
Didacticism, in Lyiy, 17; in heroic
romance, 31, 36; in Reformed
Coquet, 70 ; sentimental, 74 ; love
of, 114; in Robinson Crusoe, 129;
in Roxana, 131
Digby, Sir Kenelm, wrought his
courtship into romance, 60
Digressions, Use of humorous, 68-
69
Discovery of a New World; or a
description of the South Indies
hitherto unknown, 20 ; 157
Disguised Prince, The (Mrs. Hay-
wood), I0I-2 ; 226
Disorders of Bassett, The, 200
Distressed Child in the Wood, The,
210
Distressed Orphan, The, 109 ; out-
lined, logn., 223
Divell a Married Man, The, 171
Diversions of Mars and Venus, 206
Domestic history in Pilgrim's Prog-
ress, 123
Domestic life in sketches in peri-
odicals, 95 ; Mrs. Haywood's
works, 99, 102; taste for themes
from, 137
Domestic tragedies. Examples of,
120-21
Don Belianis, Spanish romance, 5
Don Carlos, 186
Don Heneriques de Castro, 197 ;
translation of, 57-58
Don Juan Lamberto, satire, 6-7;
45; 178
Don Quixote (Cervantes), 44 ; pop-
ularity of, 136; 158
Don Sebastian, King of Portugal,
195
Donsella Desterrada, 166
Double Captive, The, 109, 215
Drama, Influence of the, on fic-
tion, 120-21
Dramatists found material in Greek
romances, 13
Drudge, The, or the Jealous Ex-
travagant, 48, 183
Dryden, John, on heroic romances,
27, 30 ; on the noble savage, 82
Dryden's Conquest of Granada,
Source of, 36
Du Bartas on Sidney, 15
254
Duke of Alangon and Queen Eliza-
beth, 56
Dunlop on Barlaam and Josaphat, 8
Dutch Rogue, The, 46, 19S
Dykes, Dr. Oswald, Good Manners
for Schools, 113
Educative treatise, Mrs. Barker's
Exilius, 104-S, 113; French and
English examples, 113
Element of actuality in allegorical
romances, 27
Eliana (John Pordage), 40
Elizabethan literature, Romances of
roguery in, 45
Elizabethan romances, Redactions
of, 116
Elvira, 233
Emotions, Subjective analysis of, in
Mrs. Haywood's Works, 103
Emperour and the Empire Betrayed,
SO, 194
Endimion de Gombauld, 2$, 167
English Adventures, 233
English Adventures (Roger Boyle),
58-59; 186
English Nobleman, The, 230
English Nun, The, a comical de-
scription of a Nunnery, 47, 206
English Princess, The, or the
Dutchess Queen, 57, 189
English Rogue, The (R. Head), 46,
179
Entertaining History of . , Solenus
and Perrigonia, The, (J. L. Cos-
teker), 42-43, 228
Entretien, L', des Beaux Esprits,
230
Episodes, Dramatic, in Greek ro-
mances, 13 ; fabricated, in his-
torical novels, 56 ; no extraneous,
in Pilgrim's Progress, 123-24; ex-
traneous, in Roxana, 131
Epistles of Col. Henry Martin, 197
Epitome of all the Lives of the
Kings of France, 168
Erastus or the Roman Prince, 185
Eromena; or Love and Revenge,
38n, 164
Eromena, or The Noble Stranger;
modelled on French romances, 30,
33 ; story of, 34; 195
Eryci Puteani Comus sive Phagesi-
posia Cimm,eria, 10, 165
Essex Champion, The, 45, 195
Ethiopian History, The (Helio-
dorus), 11-12
Euphormionis Lusinini Satyricon,
(John Barclay), 47, 158
Euphues (John Lyly), 17-18
Euphuism modeled on Greek ro-
mances, 1 3
Euphuistic Romances, 17-18; char-
acteristics of Lyly's Euphues, 17-
18; other examples, i8n
Evagoras, 188
Exemplary Novels (Cervantes), 53
Exilius (Mrs. Barker), 3in, 104-5,
113, 214
Extravagant Poet, The, 48, 193
Extravagant Shepherd, The, 44, 175
Fable, The, origin and examples,
112; influence of, 113
Fables of Aesop, The, 112, 173
Fables of Pilpay, 1:2, 206
Faerie Queen, The, and Pilgrim's
Progress, 121-22
Fair Jilt, The (ApHra Behn), Pica-
resque material in, 46 ; heroine in,
77 ; 82-83, 200
Fair One of Tunis, The, 184
Faithful Shepherd, The (Guarini), 37
False Duchess, The, 218
Familiar Letters of Love and Gal-
lantry, 215
Family Instructor, The (Daniel De-
foe), 90, 132-33, 134, 214
Family life in Defoe's works, 132
Famous Whore, The, 158
Fatal Prudence, 33, 191
255
Fatal Secret, The (Mrs. Haywood),
99, 222
Fatall Beauty oj Agnes de Castro,
200
Feigned personages in romance, 38-
39
Female Deserters, The, 215
Female Dunciad (Mrs. Haywood),
98
Female Falsehood, 208
Female Gallant, The, 203
Female Grievances Debated, 220
Female Spectator, The (Mrs. Hay-
wood), 98, 102-3
Fenelon, Telemaque, educative trea-
tise, 113
Fennor, William, Compters Common-
wealth, 160
Fiction, Three periods of, 136-37
Fiction, literary. Three types of, 2 ;
influence of ideal commonwealths
on, 23 ; influence of allegorical
romances on, 27 ; influence of
heroic romances on, 29, 35-37,
contribution of Defoe to, 131
Fiction, literary and popular, Dis-
tinction between, 1-2
Fiction and drama, Congreve on an-
alogy between, 67-68 ; relation of,
120—21
Fidge, George, The English Gus-
man, 173
Fielding, combined novel and ro-
mance, 116
Five Love-letters from u Nun to a
Cavalier, 189
Five love-letters written by a Cava-
lier, 204
Flagellum, 183
Floating Island, The, 184
Flower of Fidelitie, The (John
Reynolds), 26
Folk-tales, Literary treatment of,
I I 6-1 7
Ford, Emanuel, History of Ornatus
and Artesia, 6 ; History of Paris-
mus, 6 ; History of Montelion,
Knight of the Oracle, 6
Foreign observer, device used in
ideal commonwealths, 23 ; in alle-
gorical romances, 27
Fortunate, The, the Deceived and
the Unfortunate Lovers, 195
Fortunate Fool, The, 181
Fortunate Mistress, The, or a His-
tory of the Life of Mile, de
Beleau (Daniel Defoe), 119, 129-
31, 220
Fortunes and Misfortunes of Moll
Flanders (Daniel Defoe), 119,
129-30, 217
Four true Tragic-Comical Histories
of our Late Times, 53, 167
French King proved a Bastard, The,
203
French King's Wedding, The, 116,
210
French npvels, of manners, 114;
of scandal, vulgarized, 116
French romances made English,
136
French Spy, The, .106
Friar Rush, 161
Friendship in Death (Mrs. Rowe),
93, 94, 226
Fryer Bacon, 116, 163
Furetiere, Le Roman Bourgeois, 44,
47n
Gainford, Thomas, History of Per-
kin Warbeck, 160
Galatea (Cervantes), 37
Gallant Hermaphrodite, The, 199
Gallant Memoirs, 62, 193
Gallantry Unmasked, 202
Gallants, The, 197
Gallery of Heroic Women, 173
Gargantua (Rabelais), 44
Gayton, Edmund, Wil Bagnal's
Ghost, 176
Gayton, John, Pleasant Notes on
Don Quixote, 17s
256
Generous Rivals, The, narrative
comedy, 69, 214
Gentleman Apothecary, The, 182
Gerardo, The Unfortunate Spaniard,
164
German Princess, The, 233
Ghost story, raised to realm of
literature, 119
Gibbs, Richard, The New Disorders
of Love, 199
Gil Bias (Lesage), 44
Gods Revenge against Murder
(John Reynolds), 26
Godwin, Francis, The Man in the
Moone, 20-21, 168
Golden Ass (Lucius Apuleius), 9
Golden Eagle, Tale of the, 118; 188
Gombauld, Jean Ogier de, Endy-
mion, 2S
Gomberville, Polexandre, 28
Gonsales, Domingo, pseud, of God-
win, Francis, 2onS2
Good Manners for Schools (Dr.
Dykes), 113
Good savage introduced into fiction,
63, 81
Goodman, Nicholas, Hollandes
Leaguer, 165
Gough's Strange Discovery, 13
Governour of Cyprus, 201
Grace Abounding to the Chief of
Sinners (John Bunyan), 125
Grand Cabinet-Counsels Unlocked,
178
Grand Pyrates, The, i8s
Great Alcander, The, 196
Great Scanderbeg, The, 202
Greek erotic tales, 10-14; origin of
and examples, ion22 ; Daphnis
and Chloe, 11 ; Ethiopian History,
11-12; structure and style, 12-13;
influence of, 13-14; Argenis a
typical, 24
Greek romances, Ethiopian History
pattern for, ii ; influenced heroic,
28, 30 ; miscellaneous romances
modelled after, 37-38
Greene, Robert, 16, 18
Guarini, The Faithful Shepherd, 37
Gulliver's Travels (J. Swift), 21-22
Guthrie, J., Life and Heroik Ac-
tions of the Eighth Champion of
Christendom, 232
Guy of Warwick, 4
Guzman Hind and Hannan Out-
stript, 177
Happy Slave, The (Gabriel de Bre-
mond), 38, 188
Harrington, James, Comonwealth of
Oceana, 20, 176
Hartlib, Samuel, Kingdom of Ma-
caria, 23n, 170
Hattige or the Amours of the King
of Tamaran, 192
Haywood, Mrs. Eliza, on the ro-
mances, 43 ; general characteris-
tics, 98-99 ; Female Dunciad, 98 ;
Memoirs of a certain Island ad-
jacent to Utopia, 19, 60, 98, 222 ;
Secret History of the Present In-
trigues of the Court of Caramania,
99, 223 ; Lassellia, 99, 220 ; The
Rash Resolve, 99, 220 ; The Fatal
Secret, 99, 222 ; The British Re-
cluse, 99, 218; Letters of a Lady
of Quality to a Chevalier, 99, 220 ;
Idalia, 99-100; 220; The Mer-
cenary Lover, loo-i, 224; The
Padlock, loi ; The Disguised
Prince, 10 1-2, 226 ; The Surprise,
102, 223 ; Princess of Ijaveo, 99,
102, 231 ; The Female Spectator,
98, 102-3; The Tea Table, 99.
102—3, 223; compared with Mrs.
Behn, 103 ; The Injured Husband,
220 ; Love in Excess, 221 ; La
Belle Assemblie, a translation,
22in ; Fantomina, 222 ; Mary
Stuart, a translation, 222 ; Secret,
Z22 ; The Unequal Conflict, 223 ;
Histories, Novels and Poems,
Life of Mme. d^ Villesache, 225 ;
Philidore and Pacentia, 225 ; The
257
Irish Artifice, 226 ; The Fair
Hebrew, 227 ; Persecuted Virtue,
227 ; Love-Letters lately passed
between persons of distinction,
227
Head, R., The English Rogue, 46,
179; Madame Wheedle, 182; Life
and Death of Mother Shipton,
196; Nugae Venales, 198
" Heliodorian poesie," 30 ; described,
38
Heliodorus, The Ethiopian History,
11-12; a source for dramatists,
13; source of Arcadia, 14; pat-
tern for heroic romance, 29-30
Hell Reformed, 169
Helvetian Hero, The, narrative
comedy, 66-67
Heptameron, 17s
Hero, Chivalric type of, 5, 7 ; pas-
toral, 14; heroic, 29, 30-31 ; ordi-
ary good man as, 49 ; in The Fair
Jilt, 82-83 ; in Mrs. Rowe's works,
94; Robin Hood type, 117; in
Pilgrim's Progress, 123 ; Crusoe
the ideal practical, 128
Heroe of Lorenzo, The, 173
Heroic romances, 27-37 ; three stages
of development of, 28; important
features of, recognition of ro-
mance, 29-30 ; canons derived
from classical models, 30 ; hero
and heroine, 30-31 ; sentiment,
and pure moral tone, 31 ; trans-
lations, 32-33 ; imitations, 33-35 ;
influence of, 35-37 ; plays founded
on, 36 ; rarely vulgarized, 116
Heroical Adventures of the Knight
of the Sea, s ; iS4
Heroik Life ...of Henry the fourth,
158
Heroine in Greek romance, 12;
pastoral type of, 14 ; heroic type
of, 29, 30-31, 33; influence of
Portugese letters on, 74 ; in The
Fair Jilt, 82 ; Mrs. Rowe's, 94 ;
Mrs. Barker's, 104
Heroine Musqueteer, The, 189, 207
Heywood, Thomas, Domestic trage-
dies of, 120; Lives of Nine
Worthy Women, 169
Highland Visions, The, 48, 213
Highwaywoman celebrating Marcy
Clay, The, 179
Hind, John, Eliosto Libidinoso, 156;
We have brought our hogs to a
fair market, 174
Hind's Elder Brother, 174
Historical anecdotes, 116
Historical novels, 55-59, charac-
terized, 55-56 ; examples, dealing
with Queen Elizabeth, 56-57 ;
Don Heneriques de Castro, 57-58 ;
English Adventures, 58-59
Historical Romance of the Wars be-
tween the mighty Giant G. and
the Great Knight Nasonius, 59
Histoire de Larrons, 167
Histories, by Mrs. Behn, 79-83 ;
by Mrs. Manley, 85-86 ; of pop-
ular heroes, 117
History and novel distinguished, 51
History and Remarkable Life of
Colonel Jacque (Daniel Defoe),
129-30 ; 218
History of Agnes de Castro (Mrs.
Behn), 83
History of Appian of Alexandria,
191
History of Blanchedyne, 166
History of Bovinian, 117, 176
History of Cang-Hy, the present
Emperor of China, 205n
History of Evoradmus, Prince of
Denmarke, 155
History of Executions, The, 228
History of Genghiscan, 106, 218
History of Henry IV, King of
France and Navarre, 179
History of Hypatia, The, 217
History of Hypolite and Amynte,
231
History of John of Bourbon, 219
History of King Appius, The, 226
258
History of Leonora Cespedes and
Count de Belflor, 218
History of Montelior, Knight of the
Oracle (E. Ford), 6
History of Nicerotis, igg
History of Ornatus and Artesia (E.
Ford), 6
History of Parismus (E. Ford), 6
History of Prince Mirabel's infancy,
rise and disgrace, 6 in
History of Queen Elizabeth and her
favorite the Earl of Essex, 56,
172, 192
History of Queen Margaret daughter
to Henry U, 172
History of Reynard the Fox, 116,
193
History of St. Elizabeth, 165
History of Tarquin and Lucretia,
181
History of that Worthie Knight
Mervine, 159
History of the Bucaniers, 195
History of the Civil Wars of Gra-
nada, 37
History of the five Wise Philoso-
phers, 183
History of the French Rogue, 183
History of the Grand Viziers Maho-
met and Achmet Coprogli, 186
History of the Greene Knight and
the Princess Beroshia, sn ; 155
History of the Loves of Lysander
and Sabina, 51 ; story of, 67 ; 200
History of the Marechalless de la
Ferte Senneterre, 62, 202
History of the most noble knight
Arthur of Lytell Brytaine (Lord
Berners), 4
History of the Nun (Mrs. Behn),
83, 201
History of the Royal Slave; or
Oroonoko (Aphra Behn), 80-82;
quotation, 81 ; 200
History of the Serrail, z66
History of the Siege of Toulon by
Donneau de Vise, 215
History of the two children in the
wood, 116, 216
History of Wars of ... Charles XU,
King of Sweden (Daniel Defoe),
127—28, 214
Holland, S., Wit and Fancy in a
Maze, 45 ; Don Zara del Fogo,
176
Homais, Queen of Tunis, 193
Honourable Prentice, The, 159
Hotel de Rambouillet, Influence of,
29; revulsion against ideals of,
72; usage of, a model for social
treatises, 90
Howell, James, Dodona's Grove,
171 ; A Relation of the Life of
Christina, Queen of Sweden, 176
Hue and Cry after Conscience, An,
125, 199
Huet, Bp. Pierre Daniel, on the use
of prose or poetry, 29-30 ; on
heroic romances, 29n ; on canons
derived from Greek romance, 30
Humanitarian novel, Oroonoko the
first, 80
Hume, James, Pantaleonis Vaticinia,
Satyra, 10, 47, 165
Humorous stories by Mrs. Behn, 78-
79
Huon of Bordeaux, 4
Husband forced to be jealous. The,
181
Hutton, Luke, The Blackdog of
Newgate, 154
Hymen's Praeludia, 32, 174
Hypolitus, Earl of Douglas . . . with
the Secret-History of Mack-Beth,
57, 210
Ibrahim. 33, 38, 174
Icaria (John Bissel), 25, 167
Idalia (Mrs. Haywood), Story of,
99-100, 220
Ideal commonwealths, 19-23 ; de-
fined, 19 ; More's Utopia and imi-
259
tatious, 19-21 ; Gulliver's Travels,
21-22 ; other works of Swift, 22 ;
influence on novel, 23 ; other ex-
amples, 23n
Ildegerte, queen of Norway, 33, 217
Idealism in Bunyan, 122
Illegal Lovers, The, 226
Illustrative story, Use of, in social
treatises, 90 ; in Mr, Badman, 125
Illustrious French Lovers, The
(Mrs. Aubin), 106, 107-8, 223
Illustrious Persian Maid, The, 203
Illustrious Shepherdess, The, 176
Imaginary Conversations, of Landor,
97
Immorality, Reaction against, in
early i8th century, 89, 114
Impartial History of the Life and
Actions of Peter Alexowitz,
Czar of Muscovy, 220
Incognita (Congreve), Extract from
Introduction to, 50 ; 67-69 ; 203
Inconstant Lover, The, 182
Ingelo, Nathaniel, Bentivolio and
Urania, 27, 178
Innocent Adultery, The, 218
Instructions to a Young Nobleman,
SO
Instructive novels, Mrs. Barker, loS
Intrigue, in Milesian tales, 7 ; in
17th century romances, 41 ; in
novels of cloak and sword, 53-
54 ; with characters under feigned
names, 59 ; in novelle, 62 ; in Eng-
lish novel of manners, 63-66 ; in
narrative comedies, 66 ; in works
of Mrs. Manley, 85, 86 ; novel of,
favorite type with Mrs. Hay-
wood, 98
Intrigues of Love, 201
Irish Rogue, The, 46, 202
Island of Content, The, 211
Isle of Man, The (R. Bernard), 118,
121, 163
Jackson's Recantation, 185
Johnson, Capt. Charles, Lives and
Adventures of the most noted
highwaymen, 230 ; History of Rob-
beries and Murders of the most
famous Pyrates, 230
Johnson, Dr., on Mrs. Rowe, 95
Johnson, John, True Relation of
God's Wonderful Mercies, 156 ;
Academy of Love, 47, 1 70
Johnson, Richard, 5'*. George's three
sons, 157; Looke on me London
I am an honest Englishman, 1 59 ;
Seaven Champions of Christen-
dom, 159 ; History of Tom Thumb,
161 ; History of George i Greene,
i6s
Journal of the Plague Year (Daniel
Defoe), 132, 218
Journalistic point of view in De-
foe, 127
Jusserand on Emanuel Ford, 6 ;
English Novel in the Time of
Shakespeare, i sn ; on Euphues,
17; on Zelinde, 39
Just Reward of Rebels, The, iiya,
170
Keach, Benjamin, The Travels of
True Godliness, 125, 195
Keach, Thomas, Progress of Sin,
I2S, 196-97
King of Bantam, The (Aphra Behn),
78-79 ; quotation, 79 ; 197
King of Pirates, The, 211
Kirkman, Francis, new versions of
old stories, 4 ; The Unlucky Citi-
zen, 46, 184
Knights of the Blade, 174
Koerting, Prof., on three stages of
heroic romance, 28
Kiitz, Otto, The Faerie Queen and
Pilgrim's Progress, I22n
La Calprenede, Use of suspense in,
12 ; Cassandra, Cleopatre, Phara-
mond, best examples of heroic ro-
260
mance, 28 ; patterned after Helio-
dorus, 29 ; translations of, 32 ;
influence of, on English fiction,
36-37
La Fayette, Mme. de, Princess de
Cleves, S5, 200
La Mothe, Marie Catharine, The
Diverting Works of Countess d'
Aulnay, 209
Lady's Philosopher's Stone, The,
222
Lassellia (Mrs. Haywood), 99, 220
Late Storie of Mr, William Lilly,
The, 171
Lawyer's Clarke Trappan'd, 179
Le Guys, Sir Robert, translator of
Barclay's Argenis, 25
Legend of Captain Jones, 185
Legends, Literary treatment of,
116-17
Lesage, Gil Bias, 44 ; humor of, 45
L'Estrange, R., translator, 48; 112,
189
Letter, A, concerning the country of
Muley Arxid, King of Taleletta,
182
Letter, The, as a narrative form,
74 ; in periodicals, 95
Letters in imitation of the Nun's
five letters (Mrs. Manley), 73, 205
Letters moral and entertaining (Mrs.
Rowe), 90, 93-94, 227
Letters of a Lady^of Quality to a
Chevalier (MrSi Haywood), 99,
220
Letters of a Portugese Nun, 48 ;
described, 70-72 ; other renderings
and imitations, 72-73 ; influence
of, 73-7S1 114. 136 ; on Mrs. Behn,
77 ; imitated by Mrs. Haywood, 99^
Letters of a Turkish Spy, 23, 59,
74-75, 85, in; continuation of,
by Defoe, 128; 199
Letters of Abelard and Heloise, 73
Letters of Love and Gallantry, 73,
204
Letters to Lycidas (Mrs. Behn), 77-
78, i9in
Letters, The CCXI Sociable (Duch-
ess of Newcastle), 92-93 ; 179
Leucippe and Clitophon (Achilles
Tatius), II, 13
Liberal Lovers (Cervantes), 38, 42
Life, Adventures and Pyracies of ...
Capt, Singleton, 129-30, 216
Life and . . . Actions of George Henry
Baron de Goertz, 216
Life and Actions of Lewis Domini-
que Cartouche, 218
Life and Adventures of Buscon the
witty Spaniard, 177
Life and Adventures of Mr. Cleve-
land, 134, 230
Life and Adventures of Mr. Dun-
can Campbell (Daniel Defoe),
132, 216
Life and Adventures of Pedrillo del
Campo, 220
Life and Adventures of the Lady
Lucy (Mrs. Aubin), 106, 107, 224
Life and Amours of the Count de
Tourenne, 226
Life and Death of Edward the
Black Prince, 184
Life and Death of Gamaliel Ratsey,
15s
Life and Death of Griffin Flood,
162
Life and Death of John Rheinboldt,
215
Life and Death of Mr. Badman
(John Bunyan), 124-2S ; 192 ;
Picaresque material in, 46
Life and Death of Mr. J. A. a no-
torious highwayman, 212
Life and Death of Mumper, 207
Life and Intrigues of Mrs. Parri-
more, 227
Life and Piracies of Capt, Avery,
61
Life of Francis of Lorrain, Duke
of Guise, 193
261
Life of Mahomet, 228
Life of Merlin, 170
Life of Mme, de Beaumont (Mrs.
Aubin), 106, 10711, 217
Life of S ethos, 113, 229
Life of St. Francis Xavier, 200
Life of the Countess de Gondez
(Mrs. Aubin), 106, io8n
Life of the renowned Peter d' Au-
busson, 191
Lining of the Patch-work Screen
(Mrs. Barker), 73, 105, 224
Little Black Lady, The (Aphra
Behn), 78, 196
Lives and Amours of the Empresses,
consorts to the first twelve Caes-
ars of Rome, 221
Lives of Saint Elzear and his Wife,
168
Lives of Sundry Notorious Villains,
188
London-Bawd, The, 212
London Spy Compleat, The (E.
Ward), 23, 48, 207
Long, Kingesmill, translator of the
Argenis, 24
Longus, Daphnis and Chloe, 11
Look ere you Leap, 212
Love a la mode, 228
Love and Arms of the Greek Prin-
ces, 169
Love at First Sight, 178
Love in a Passion without Discre-
tion, 119, 211
Love in all its Shapes, 230
Love Led Astray (Mrs. Plantin),
112, 225
Love Letters between u. Nobleman
and his Sister, 73, 204, 230
Love Letters between Polydorus and
Messalina, 201
Love Letters from Henry VIII to
Anne Buleyn, 213
Love-letters to a Gentleman (Aphra
Behn), 76-77
Love Lottery, The, 211
11
Love story. The popular, 119-20
Love upon Tick, 222
Love Victorious over Fortune, 196
Loveday, R., translated Cleopatre,
32, 174
Lover's Secretary, The, 108-9, 213
Lover's Watch, The (Mrs. Behn),
77, i98n
Love's Academy, 216
Love's Journal, 182
Love's Poesie, 198
Loves and Adventures of Clerio and
Logia, 174
Loves of Charles, Duke of Mantua
and Margaret, Countess of
Rovers, The, 181
Loves of Lysander and Sabina, 200
Loves of Osmin and Doraxa, 221
Loves of Sundry Philosophers, The,
184
Loving Enemy, The, 172
Lucas, Theophilus, Memoirs of
Gamesters, 213
Lucky Mistake, The (Mrs. Behn),
83, 201
Lyly, John, Euphues, 17-18
Lyttleton, George, Letters from a
Persian in England to his friend
at Ispahan, 231
Macaulay on Afra Behn, 83
Mack-Beth, see Hypolitus
Machiavelli, The Prince, 89
Mackenzie, Sir George, Aretina, 26-
27, 178
Madde Pranckes of Merry Mall of
Banckside, 158
Mall, The, 47, 211
Man in the Moon, The, 48, 158
Man in the Moone (Domingo Gon-
sales), 20-21 ; 168
Manley, Capt., Story of, by Mrs.
Barker, 105-6
Manley, Mary de la Riviere, Sum-
mary of life and works, 85-86 ;
Queen Zarah and the Zarazians,
262
59, 85, 2o8 ; Secret Memoirs and
Manners of several Persons from
the New Atlantis, ig, 20, 60, 85,
87-88, 211 ; Memoirs of Europe at
the close of the eighth century,
86, 212; The Adventures of
Rivella, 86-87, 213; History of
her Life and Times, 86, 222 ; A
Stage-coach Journey to Exeter,
86, 223 ; Bath Intrigues, 87, 221 ;
The Power of Love, 52, 87, 217;
works contrasted with Mrs. Behn
and Mrs. Haywood, 88 ; Letters,
in imitation of the Nun's five
letters, 73, 205 ; Court Intrigues,
212
Marivaux, Le Paysan Parvenu, no,
232; La Vie de Marianne, no
Markham, Gervase, translator, Pas-
toralls of Julietta, 156 ; Second
parte of Arcadia, 159
Mary Stuart, Queen of Scots, 222
" Matchless Orinda " see Dutchess
of Newcastle
Matchless Rogue, The, 222
May den in Confolens, 155
Memoir, Influence of the, on nar-
rative art, 62
Memoir structure, in Gulliver's
Travels, 22 ; in Robinson Crusoe,
128
Memoirs and History of Prince Titi,
232
Memoirs of a Cavalier (Daniel De-
foe), 132
Memoirs of an Island adjacent to
Utopia (Mrs. Haywood) in form
an ideal commonwealth, 19 ; a
secret memoir, 60, 98 ; 222
Memoirs of Europe at the close of
the eighth century (Mrs. Manley),
86, 212
Memoirs of Gaudentio de Lucca,
231
Memoirs of Miss Cadier and her
Father, 228
Memoirs of Mile, de St. Phale, 61
Memoirs of the Baron de Brosse,
222
Memoirs of the Court of Spain, 203
Memoirs of the Life and Aventures
of Signor Roselli, 61, 211
Memoirs of the Life of Emeric,
Count of Teckely, 204
Memorials of Margaret de Valois,
170
Mercenary Lover, The (Mrs. Hay-
wood), loo-i, 224
Mercury Gallant, The, 184
Meroveus a Prince of the Blood-
royal of France, 33, 194
Middle class. Serious portrayal of
the, 98 ; glorification of, in his-
tories of popular heroes, 117
Milesian tales, defined 7-8 ; Bar-
laam and Josaphat, 8 ; Apollonius
of Tyre, 8-9
Milk for Babes, Meat for Strong
Men, 229
Miracles of the Age, 208
Mirrour for Mindes, The, 164
Miscellaneous Romances, 37-43 ;
Moorish or Moslem setting em-
ployed, 37-38 ; three Italian ro-
mances, 38 ; some English redac-
tions, and romances, 39-44 ; four
romances with Spanish setting,
41-43 ; end of affected court ro-
mance, 43
Misoponeri Satyricon, 9-10
Mock-Clelia, The, 44, 190
Modern Novels, Types of fiction in,
50; 203
Mogul Tales, 231
Moll Flanders, see Fortunes and
Misfortunes of
Montelion, Knight of the Oracle,
Don Juan Lamberto, 6
Montemayor, Diana, 37
Moorish history as setting for ro-
mances, 37
263
Moral purpose in heroic romance,
29. 31
Moral reaction, 137
Moral tracts. Theme of, and ex-
amples, 118
Morality, Practice of in early i8th
century, 89
More, Sir Thomas, Utopia, 19
Morte Darthur reprinted, 3-4
Moslems in romances, 37-38
Motivation of characters. Lack of in
Mrs. Manley, 87-88
Mrs. Manley's History of her life
and Times, 86, 222
Munday, translations from Spanish, 5
Mundus Alter et Idem, 19, 157
Murder will out, 203
Narration, Direct, in chivalric ro-
mances, s ; mingled with indirect
in Arcadia, 15
Narration in Swift's Works, 22
Narration, Indirect, in classical ro-
mances, 12
Narration, Realistic, in biographical
narratives, 62
Narrative modified to suit social
conditions, 97-98
Narrative of adventure, Mrs. Aubin,
106; raised to literature by De-
foe, iig, 137; examples by Defoe,
130
Narrative of the Adventures of L.
Marott, 188
Narrative comedies, 66-70 ; charac-
teristics of, 66 ; The Helvetian
Hero, 66 ; History of the Loves of
Lysander and Sabina, 67 ; Incog-
nita, 67-69 ; The Generous Rivals,
69 ; The Rival Mother, 70 ; The
Reformed Coquet, 70 ; King of
Bantam, 79 ; Lover's Secretary
similar in style to, 109; influence
of, 114
Narrative satires. Examples of, 47-
48
Naturalism, in Pilgrim's Progress,
123 ; of Defoe, 135
Nature's Paradox, 174
Nature's Pictures drawn by Fancie's
Pencil (Duchess of Newcastle),
92; 176
Neapolitan, The, 195
Neville, Henry, The Isle of Pines,
169
New Atalantis, The (Mrs. Manley),
in form an ideal commonwealth,
19; origin of title, 20; a secret
memoir, 60, 8s, 86 ; motivation of
characters in, 87-88; 211
New Atlantis (Sir Francis Bacon),
20 ; 163
New Quevedo, The, 48
New Version of the Lady Gr — j
concerning her sister, the lady
Berkeley, 194
Newcastle, Margaret, Duchess of.
Influence of heroic romance on,
35-36 ; characterized, 91 ; The
World's Olio, 91-92 ; Nature's
Pictures drawn by Fancie's Pencil,
92, 176; The CCXI Sociable Let-
ters, 92-93, 179; The Biasing
World, 23, 36, 93 ; Biography of
the Duke of Newcastle, 93 ; Auto-
biography, 93 ; Description of a
New World, 178
News-narratives, sensational. Ex-
amples of, 119
Nissena, 175
Northern Worthies, The, 227
Notorious Imposter, The, 203
Novae Solymae Libri Sex, 25, 172
Novel, The, Distinction between,
and romance, 50-51 ; and history,
51 ; Italian Novelle, 51-52 ; of the
Cloak and Sword, 52-55 ; histori-
cal, 55-59 ; veiled histories, 59-
60 ; pseudo-journals, etc., 60-62 ;
of manners, 62-66 ; narrative
comedies, 66-70; the Portuguese
letters, 70-75 ; works of Aphra
264
Eehn, 75-85 ; works of Mary de
la R. Manley, 85-88 ; transition
in taste and ideals of conduct, 89 ;
social treatises, 89-91 ; Duchess
of Newcastle, 91-93 ; Mrs. Eliz.
Rowe, 93-95 ; periodicals, 95 ; the
" character," 96 ; the dialogue, 97 ;
Mrs. Haywood, 98-103; Mrs.
Barker, 103-6; Mrs. Aubin, 106-
8; occasional pieces, 108-10; the
oriental tale, iio-ii; the fable,
111-12; the apologue, 112-13; the
educative treatise, 113; summary
of development, 1 700-1740, 113—
14; contrasted with romance of
chivalry, 116
Novel of incident. Influence of ori-
ental tales on the, iii ; influence
of fable on the, 113
Novel of intrique. Picaresque ma-
terial in, 46 ; favorite type with
Mrs. Haywood, 98 ; and apologue,
112; rarely vulgarized, 116
Novel of manners. Beginnings of,
in England, 1-2 ; Euphues the
first, 1 7 ; contribution of anti-
romances to, 48 ; signs of de-
velopment of, 49 ; the Italian and
French, 62-63 ; Virtue Rewarded,
63 ; Adventures of the Helvetian
Hero, 63-64 ; The Unhappy Lov-
ers, 64-65 ; the idealistic, 65-66 ;
and social treatises, 90 ; by Mrs.
Haywood, 101 ; and popular his-
tory combined by Mrs. Aubin, 106;
influence of fable and apologue
on, 113; contribution of Defoe to,
134-3S ; rapid rise of, 137
Novels of the Cloak and Sword, 52-
55 ; characteristic features of plot,
52-53 ; French and Spanish ex-
amples, 53; Triana, 53-54; The
Player's Tragedy, 54 ; The Broth-
ers, 55 ; by Mrs. Behn, 83-84; by
Mrs. Haywood, 99 ; History of
John of Bourbon, 219
Novelle, in 17th-century, 51-52;
secret histories similar to, 60 ;
characteristics of Italian and
French, 62-63 ; narrative comedies
similar to, 66 ; center of interest
in, 98 ; in collections, 113; super-
seded romances, 136
Novels of Don Quevedo Villegas,
209
Novels of Elisabeth, 192
Novels of G. F. Loredano, 194
Novels of Scarron, 177
Obliging Mistress, The, 190
Occasional and anonymous pieces,
108-10; Unhappy Lovers, 108;
Lover's Secretary, 108; Double
Captive, 109 ; The Distressed
Orphan, 109—10 ; Alexis and
Sylvia, no; The Unnatural
Mother, no; Le Paysan Parvenu,
La Vie de Marianne, no
OUenix du Mont-Sacre, The Pas-
toralls of lulietta, 37, 156
Oriental fabliaux, Source of, 8
Oriental Tale, Examples and influ-
ence of the, III
Oriental Tale in England (M. P.
Conant), in
Oriental Tales in periodicals, 95 ;
by Mrs. Haywood, 99
Orinda, Circle of the " matchless,"
90
Oroonoko, see History of ihe Royal
Slave
Orphan, The (Otway), 58, 74
Osborne, Dorothy, on translations of
Polexander and L'illustre Bassa,
32 ; on Parthenissa, 34, 35
Ottoman Gallantries, 199
Otway, The Orphan, 58, 74
Overthrow of Capts. Ward and
Daneke, The, 233
Padlock (Mrs. Haywood), loi
Painter's Palace of Pleasure, source
265
of some of Mrs. Manley's stories,
87
Palmeryn d'Olivia popular Spanish
romance, 5
Palmeryn of England translated
from Spanish, s
Pamela (Richardson), source of
name, is; moral purpose in, 90;
Moll Flanders similar to, 130,
233
Pandion and Amphigenia (John
Crowne), 33, 40, 179
Pantaleonis Vaticinia, The (John
Hume), 10, 47, 165
Panthalia, 25, 33, 178
Paris and Vienne, 4
Parthenissa (Roger Boyle), 33-34;
17s ; see Appendix " A "
Pastoralls of Julieita, The, 37, 156
Pastorals in early i6th century, 37
Patchwork Screen for the Ladies, A
(Mrs. Barker), 105, 221
Pathway to Peace, The, 118, 170
Patronage system. Breaking down
of the, 2
Paysan Parvenu, Le (Marivaux),
no, 232
Penault, P. de Moulin F., The Devil
of Mascon, 1 77
Peppa, 201
Pepys, Mrs., Fondness of, for heroic
romances, 36
" Perfect courtier," in Arcadia, 14,
in Euphues, 1.7
Perfidious Brethren, The, 217
Periodicals, Contribution of, to
novel, 95 ; 137
Perplexed Prince, The, 59, ii7n,
194
Perplex" d Princess, The, 19s
Persian and Turkish Tales, in, 214
Persian Anecdotes,- 22%
Persian Letters by C. de Secondat,
228
Personal element in works of Mrs.
Behn, 84-85
Personal slander in biographical
narratives, 61-62 ; in works of
Mrs. Manley, 85
Petronius Arbiter, Satyricon, 9-10
Pharamond (La Calprenede), 33, 188
Pharonnida (P. Chamberlayne), 30,
33
Philips, Mrs. Catherine, Literary
coterie of, 35-36, 103
Phillips, John, translator of Alma-
hide and Pharamond, 33 ; of Don
Quixote, 44, 158
Philosophus Autodidactus, sive Epis-
tola Abu Jaafar Ebn Tophail,
ii3n, 183
Picara, La, 180
Picaresque Miscellanies, described,
45 ; examples of, 45-47 ; decline
of, 47, 48; condensations of, 116
Picaresque narratives influenced by
Satyricon, 10
Picaresque novels. Examples of, 53
Picaresque stories in periodicals, 95
Pilgrims, The, 192
Pilgrim of Casteel, The, 162
Pilgrim's Progress (John Bunyan),
not a literary romance, 27 ; 121-
24; sources of, 121—22, as a nar-
rative, 122-23 ; episode of Mrs.
Brisk and Mercy quoted, 123-24;
Matthew's illness quoted, 124;
popularity of, 125-26; 190
Pilgrim's Progress from Quakerism
to Christianity, 207
Plaine Man's Pathway to Heaven,
The (A. Dent), 118, 121, 171
Plantin, Mrs. Arabella, The Ungrate-i
ful, 112, 225; Love Led Astray,
112, 225
Player's Tragedy, 54, 204
Plays founded on episodes in the
romances, 36
Pleasant Companion, The, or Wit in
all Shapes, 52 ; 230
Pleasant Novel, A, 190
Plot in Zelinde, 39 ; in Cynthia, 42 ;
266
in novels of manners, 6s ; essen-
tial feature of narrative, 95 ; in
Roxana, 131 ; development of, 137
Plots in English miscellaneous ro-
mances, 39
Poetical Recreations (Mrs. Barker),
103-4
Poetical Works of Philip, late duke
of Wharton, Fables in, 112; 225
Polexandre (Gomberville), 28 ; trans-
lations of, 32-33 ; 171
Polite Conversation (Swift), 97
Political Romances, see Ideal Com-
monwealths
Political significance in- popular his-
tories, ii7n
Political tract, The, 119
Politics in secret histories, 59; in
pseudo-biographies, and memoirs,
61
Polyandre (Sorel), 44
Pope, W., The Memoirs of Mon-
sieur Du Vail, 182
Popular fiction distinct from liter-
ary, 1-2 ; had no merit, 2 ; dis-
cussed, 1 13-21; variety of types
of, 115; vulgar redactions of aris-
tocratic fiction, 115-16; legends,
folk-tales and historical anecdotes,
1 1 6-1 7; histories of popular
heroes, 117; moral and religious
tracts, 118; news-narratives, 119;
popular love stories, 119-20;
Amanda, 119—20; Love in a Pas-
sion without Discretion, 119 ; rela-
tion of Richardson to, 120; do-
mestic tragedies, 120-21
Popular heroes. Tales of, 117
Pordage, Samuel, Eliana, 40, 17s
Portents, features in Cynthia, 42
Portraicture of the Nine Worthies
of the World, 162
Portuguese Letters, The, See Letters
of a Portuguese Nun
Possession and Conversion of a
penitent, 159
Power of Love in Seven Novels
(Mrs. Manley), 52, 86, 87, 217
Practises of Elisabeth Caldwell, 156
Prevost, Abbe, imitator of Defoe,
134
Prince d' Amour, Le, 178
Princess de Cleves (Mme. de La
Fayette), 55 ; 200
Princess of Ijaveo (Mrs. Haywood),
99, 102, 231
Princess of Montferrat, 193
Prior, M., Dialogues of the Dead^ 97
Progress of a Rake, The, 229
Prose and poetry. Little distinction
between, 29-30
Prose fiction. Influence of Defoe on,
134-35
Proverb literature. Dykes' Good
Manners for Schools, 11 2-1 3
Pseudo-histories of Mrs. Haywood,
98-99
Pseudo-letter, Vogue of, 75 ; de-
vice in social treatises, 90
Pseudo-memoirs, Characteristics of,
and examples, 60-62 ; value of,
62 ; by Mrs. Manley, 85-86
Psittacorum Regio, 20 ; 181
Psyche, 226
Queen Elizabeth, heroine of histori-
cal novels, 56
Quevedo-Villegas, Visions and Dis-
courses of, translated by L'Es-
trange, 48
Ramble, The, 47, 228
Rash Resolve, The (Mrs. Haywood),
99, 220
Reading public, Change in, 2
Realism in heroic romance, 31;
growth of, in romances, 49 ; in
the Portuguese Letters, 72, 114;
in The Fair Jilt, 83 ; in Duchess
of Newcastle's Works, 93 ; in Mrs.
Aubin's works, 106 ; in The Un-
natural Mother, no; in oriental
267
tales, 1 1 1 ; in popular redactions,
ii6; in Bunyan's works, 122;
growth of taste for, 136
Redactions, Vulgar, of romances,
115-16, value of, 116
Reeve, Clara, translator of Barclay's
Argents, 25
Reformed Coquet, The (Mrs. Davys),
70, 220
Reformed Spaniard, The, 161
Reformer, The (E. Ward), 48, 207
Relation of the Country of the Jan-
senia never till now described, 181
Religious Courtship (Daniel Defoe),
90, 133-34, 219
Religious tracts, Examples of, 118
Revengeful Mistress, The, 205
Revived Fugitive, The, 202
Reynolds, John, The Flower of
Fidelitie, 26, 172; God's Revenge
against Murder, 26, 162
Richardson, Samuel, Reflective point
of view in, 12 ; source of name
Pamela, 15; and Lyly, 17; imi-
tated by Mrs. Haywood, 99 ; his-
tories of, combine novel and ro-
mance, 116; relation to popular
fiction, 120; Pamela or Virtue
Rewarded, 233 ; progress of
novel toward, 137
Rival Mother, The, narrative com-
edy, 70, 203
Rival Princesses, The, 202
Robinson Crusoe (Daniel Defoe),
imitated by Mrs. Aubin, 106; the
character of the hero, 128; second
part, 128—29; didacticism in, 129;
215
Rogue, The, or the Life of Gusman
de Alfarache, 162
Rohde on Ethiopian History, 11
Rolls series. Origin of, 113
Roman Bourgeois, Le (Furetiere),
44, 47"
Roman Histories of Florus, 160
Romance recognized as literary
form, 29 ; influence of oriental
tale on, iii
Romance of Cassandre, 33, 173
Romance of Tarsis and Zelie, 196
Romances, 1-49 ; Imitations of con-
tinental models, 3 ; chivalric, 3-7 ;
classical, 7-14; arcadian, 14-16;
euphuistic, 17-18; political and
allegorical, 18-27; heroic, 27-37;
miscellaneous, 37-43; anti-roman-
ces, 43-49 ; defined by Congreve,
50-51; redactions of, 115-16; of
France made English, 136
Romanticism in oriental tales, iii
Rosalinda, ^29—30
Rover, The, 2i3n
Rowe, Mrs. Elizabeth, on the ro-
mances, 43 ; exponent of senti-
mental piety, 93-94; Friendship
in Death, 93, 94, 226 ; Letters
Moral and Entertaining, 90, 93-
94, 227; other works and popu-
larity of, 94-95
Rowlands, Samuel, Greene's Ghost
Haunting, Conie-Catchers, 155
Roxana, see The Fortunate Mistress,
Royal Loves, 193
Royal Shepherdess, The, 226
Sacchetti, 8
Sad and Lamentable News from
Rumford, 185
Sadeur, Jacques, New Discourse of
Terra Incognita Australis, 203
Sadler, John, Olbia, 23n, 178
Sadler, T., Confessions and Exe-
cution of the five prisoners suf-
fering at Tyburn, 188
St. Theodora, Life of, 8
Satire, in ideal commonwealths, 19 ;
in Gulliver's Travels, 21 ; in Tale
of a Tub, 22 ; adoption of letter
as a form for, 74
Satyricon (Petronius Arbiter), 9-
10; 47, 179
268
Scandal in secret histories, sg, 60 ;
in pseudo-memoirs, 61
Scarborough Miscellany, The, 229
Scarron, Le Roman Comique, 44;
humor of, 45
Scarron' s Comical Romance, 44, 186
School of Slovenrie, The, 156
Scipion, 1 78
Scott, Sir Walter, on Gulliver's
Travels, 21
Scudery, Mile, de. Text of, cut by
translators, 32 ; heroic conversa-
tions of, 33 ," influence on English
fiction, 36-37 ; Moorish setting in
Almahide, 37
Scuderys, The, Heroic romances of,
27 ; Grand Cyrus, Almahide,
Clelie, 28
Second-Sighted Highlander, 2i3n
Secret History of Mama Oello, 230
Secret History of Miss Betty Ire-
land, 207
Secret History of Queen Zarah and
the Zarazians (Mrs. Manley), 59,
85, 208
Secret History of the Court of the
Emperor Justinian, 185
Secret History of the Duke of
Alangon and Queen Elisabeth,
203
Secret History of the Hotise of
Medici, 198
Secret History of the Present In-
trigues of the Court of Cara-
mania (Mrs. Haywood), 99, 225
Secret History of the Prince of the
Nazarenes and two Turks, 217
Secret Memoirs of Bar-le-duc, 214
Secret Memoirs of Robert Dudley,
Earl of Leicester, 208
Secret Services of M. de Vernay,
194
Select Collection of Novels, 219
Select Dialogues of Lucian, 165
Select Discourses out of the most
eminent Wits of France and Italy,
189
Self-analysis, popular, 72, increas-
ing interest in, 114
Sentiment, in heroic romance, 29,
31 ; cult of, 73; growth of, shown
in Mrs. Haywood's works, 103
Sentimentalism, in heroic romances,
37; popular, 72; in oriental tales,
III ; revival of, 114
Settle's Fatal Love, 13
Seven Champions of Christendom,
The, 4
Seven Years Slavery under the
Turks of Alger es, 170
Shelton translated Don Quixote, 44,
158
Sicilian Tyrant, The, 187
Siden, Capt., History of the Seva-
rites of Severambi, 186
Sidney, Sir Philip, Arcadia, 14-16;
contrasted with Lyly, 17
Siegel, P., on Aphra Behn, 75
Simplicissimus , zoo
Sir Roger de C overly Papers, . 95 ;
culmination of character-sketch,
137
Skimmer, The, 231
Smith, Alexander, Lives and Rob-
beries of the most notorious High-
waymen, 213 ; Secret History of
the Loves of the most celebrated
Beauties, 214; Comical and Tragi-
cal History of the Lives and Ad-
ventures of the most noted Bay-
liffs, 219 ; Memoirs of Life and
Times of Jonathan Wilde, 224
Social treatises, 89-91, examples of,
90-91
Some Remarkable Passages in the
Life of a Private Gentleman, 210
Sonne of the Rogue, The, 46, 168
Sorel, Le Berger Extravagant, 44 ;
Polyandre, 44 ; Histoire Comique
de Francion, 44
Spanish cycles in chivalric roman-
ces, 5-7
Spanish Decameron, 53, 200
269
Spanish Gallant of Dantisso, The,
i6g
Spanish intrigue and contemporary
manners combined in English
novels, 63
Spanish Mandeville of Myracles,
160
Spanish novels of cloak and sword,
Cynthia resembles the, 42 ; 52-53 ;
114
Spanish setting in 17th century ro-
mances, 41
Spectator, The, Character sketches
in, 48, 96 ; social treatises in, 90 ;
moral themes in, 95 ; oriental
tales in, in; apologues in, 112
Spence, Ferrand, translator, 39
Stage-coach Journey to Exeter
(Mrs. Manley), 86, 223
Stanglmaier, Karl, Mrs. Jane Barker,
I03n
Stanhope, H., The Fortunate and
Unfortunate Lovers, 231
Steele, Richard, Writings of, ex-
press ideal of the age, 95
Stock themes in Mrs. Rowe's works,
94
Strange Adventures of the Count
Vinevil and his family, 106, I07n,
218
Strange Apparition which appeared
to Lady Grey, 194
Strange Example of God's Judg-
ment, 171
Strangements ; news from the land
of Chivalry, 193
Strangest Adventure, The , . . Con-
taining a discourse of Dom Se-
bastian, 154
Structure, in Greek romances, 12 ;
development of, 137
Style, in Greek romances, 13.
Swift's 22 ; in heroic romances,
28 ; in miscellaneous romances,
40 ; in Novelle, 63 ; in novels of
manners, 65-66; in The Gener-
ous Rivals, 69 ; Mrs. Behn's, 79,
84-85 ; in dialogues, 97 ; influ-
ence of fable and apologue on,
113; Bunyan's 123; Defoe's 127,
134; progress in development of,
137
Sufferings and Death of the Faith-
ful, 208
Supernatural, The, in news-narra-
tives, 119; in Defoe, 132
Surprise, The (Mrs. Haywood),
102, 223
Surprise and suspense in Greek ro-
mances, 12, 30
Swift, Jonathan, Gulliver's Travels,
21-22, 224, 22Sn; Tale of a Tub,
22 ; influence on fiction, 22-23 ;
Polite Conversations, 22, 97 ; on
Mrs. Haywood, 98
Symmons, Mrs., The Whimsical
Lovers, 223
Table of Cebes, the Theban, 159
Tachmas, Prince of Persia, in, 187
Taffy's Progress to London, 209
Tale of a Tub (J. Swift), 22
Tarsus and Zelie, 226
Toiler, The, Social treatises in, 90 ;
moral themes in, 95 ; character
sketch in, 96
Taxila, 41 ; 203
Tea-Table, The (Mrs. Haywood),
novels in embryo in, 90 ; moral
themes in, 95 ; sentimentality
criticized, 102-3
Teixeira, Jose, Strangest Adven-
ture... of Dom Sebastien, 154
Theagenes and Chariclea similar to
modern novel, 14
Theopolis or the City of God, 183
Timberlake, Henry, True and
Strange Discourse of the Travails
of two English Pilgrims, 155
Title pages, Mrs. Aubin's descrip-
tive, I07n
270
Toland, John, Description of Epsom
in a Letter to Eudoxia, 47, 212
Tom of Lincoln, 4, 157
Tragi-comical History of Alexander
and Angelica, 169
Tragi-comical History of Our Times
under the Borrowed Names of
Lisander and Calista, 59, 166
Tragical History of the Chevalier
du Vaudray and the Countess
Vergi, 231
Tragical History of Two Illustrious
Families, 187
Tragicke Loves of Hippolito and
Isabella, 164
Travels and Adventures of three
Princes of Sarendip, 219
Travels of Don Francesco de
Quevedo Through Terra Australis
Incognita, 20, 197
Travels of Love and Jealousy, 204
Travels of Persiles and Sigismunda,
160
Treasurie of Amadis of Gaule (H.
Bytinerman) s ; one source of
Arcadia, 14
Trepan, The, 176
Triana, 53-54; 175
Trip through the Town, A, 231
Triumph of Friendship and the
Force of Love, 197
Triumph of Love over Fortune, 190
Troubled-spirited Man's Departing,
166
Troublesome and Hard Adventures
in Love, 174
Tryal of Mrs. Mary Carleton, 179
Turkish Tales, 210
Two Journals; the first kept by
seven sailors in Greenland, 229
Two Lancashire Lovers, The, 170
Tyburn Calendar, The, 207
Unequal Match, The, 194
Unexpected Choice, The, 182
Unfortunate Court Favorites of Eng-
land, 204
Unfortunate Duchess, The, 232
Unfortunate Lovers, The, 207
Unfortunate Politique, The, 168
Ungrateful, The (Mrs. Plantin), 112
Unhappie Prosperity, 165
Unhappy Lovers, The, or the His-
tory of James Welston, 108, 229
Unhappy Lovers; or the Timorous
Fair One, Story of the, 64-65 ;
204
Unhappy Loves of Herod and Mari-
amne. The, 221
Unity of narrative in Robinson
Crusoe, 129
Unlucky Citizen (Kirkman), 46, 184
Unnatural Mother, The, no, 231
Unsatisfied Lovers, The, 196
Urfe, Honore d', Astree, 28 ; pat-
terned after Heliodorus, 29
Utopia (Sir Thomas More), 19-20
Utter, Robt. P., on Euphues, 17
Vain Prodigal Life and . . , Death of
Th. Hellier the Murderer, 193
Valentine and Orson, 4
Vane, Henry, A Pilgrimage into the
Land of Promise, 179
Veiled histories, Types of, 59-60
" Vice punished," in Mrs, Hay-
wood's novels, loi ; in Mrs. Au-
bin's, 106—7
Viceroy of Catalonia, 190
Vie de Marianne, La (Marivaux),
no, 232
Villegas, see Quevedo-Villegas
Vincentio and Margaret, 156
Virtue and vice. Struggle between,
no
Virtue, Reward of in Mrs. Barker's
Capt. Manley, 105-6 ; in narratives
of Mrs. Aubin, 106; in histories
of popular heroes, 117
Virtue Rewarded, 63, 204
" Virtue rewarded," in heroic ro-
mances, 31 ; in Mrs. Haywood's
novels, loi ; in Mrs. Aubin's, 106-
7 ; in popular love story, 120
271
Visions and discourses (Quevedo-
Villegas), 48
Visions of Don Francisco de Queve-
do y Villegas, 180
Voiture, Alcidalis and Zelide, 39
" Voyage imaginaire," one form of
ideal commonwealth, ig, 23; in
allegorical romances, 27
Voyage of the Wandering Knight,
118
Voyages and Adventures of Capt.
Robert Boyle, 223
Voyages of Cyrus, The, 113, 228
Waldberg, von, en writing " a la
Portugaise," 73
Wandering Whore, The, 179
Wanton Fryer, The, 202
Ward, E., A Frolic to Horn Fair,
206 ; The Reformer, 48, 207 ;
The London Spy Compleat, 48,
207
Weames, Mrs. Anna, Continuation
of Sir Philip Sidney's Arcadia,
172
Weaver, T., Plantagenet's Tragicall
Story, 172
Webster, W., Plain Man's Pilgrim-
age, 159
Westward for Smelts, 161
Wharey, James B., A Study of the
Sources of John Bunyan's Alle-
gories, 1 2 in
When Knighthood was in Flower,
57
Whimsical Apothecary, The, 233
Whittell, Robert, Way to the Celes-
tial Paradise, 161
Whole Comical Works of Monsr.
Scarron, 207
Whole Life of Granny, The, 212
Wife for a Husband and a Hus-
band for a Wife, 191
Winter Evening Tales, 52, 113, 229
Wit and Fancy in a Maze, by S.
Holland, 45
Witty Jests and Mad Pranks of
John Frith with Capt. James, 185
Witty Rogue Arraigned, The, 176
Wonderful Accident which occurred
upon the Execution of a Christian
slave at Aleppo, 187
Works of Rabelias, I75
World's Olio, The (Duchess of
Newcastle), 91-92
Wroth, Lady Mary, Countess of
Montgomery's Urania, 16 ; 161
Xenophon's Ephesian History, 226
Zoyde, 190
Zelinde burlesque of Alcidalis and
Zelide, 39 ; digression in, 68 ;
187
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